FROM   THE  LIBRARY  OF 
REV.   LOUIS    FITZGERALD    BENSON,  D.  D. 

BEQUEATHED    BY   HIM  TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


DMsioi     <s&£> 


MUSICAL  LETT 


FROM  ABROAD: 


I  NCI.  CDISfi     DETAILED     ACCOUNTS     OF     TU 


BIRMINGHAM,  NORWICH,  AND  DUSSELDORF 


MUSICAL  FESTIVALS  OF   185-2. 


4 

BY  LOWELL  MASON. 


NEW    YORK: 
PUBLISHED    BY   MASON   BROTHERS. 

1854. 


Entered,  according  to  Act  of  Congress,  in  the  year  1853^  by 

MASON    BROTHERS, 

In  the  Clerk's  Office  of  the  District  Court  for  the  Southern  District  of 

New  York. 


STEREOTYPED      BY  PRINTED     BY 

THOMAS    B.    SMITH.  JOHN    A.   GRAY. 

216  William  Street,  N.  Y.  97  Cliff  St.  N.  Y. 


PREFACE 


The  following  letters  are  almost  exclusively  on  mu- 
sical subjects,  and  they  relate  more  particularly  to  the 
department  of  church-music,  or  to  the  service  of  song 
in  religious  worship.  There  are  many  persons  in  dif- 
ferent parts  of  our  country,  who  are  deeply  interested 
in  the  subject  of  music,  who  are  beginning  to  appre- 
ciate its  value,  and  who  are  engaged  in  the  cause  of 
musical  education,  and  especially  in  efforts  for  the  im- 
provement of  church-music  ;  this  is  abundantly  proved 
by  the  rapid  spread  of  music  in  common  schools,  by 
the  steadily  growing  demand  for  good  instructors  both 
in  the  vocal  and  instrumental  departments,  by  the 
higher  qualifications  which  from  year  to  year  are  re- 
quired in  those  who  are  sought  for  and  employed  as 
teachers,  and  by  the  constantly-increasing  number  of 
associations  and  gatherings  for  musical  purposes,  as 
elementary  classes,  singing  societies,  choirs  and  musical 
conventions. 


IV  PREFACE. 

It  was  for  the  gratification  of  these  persons,  and  es- 
pecially for  the  satisfaction  of  the  author's  numerous 
pupils  and  friends,  that  these  very  imperfect  letters  were 
originally  written  and  published  in  various  periodicals, 
and  for  these  too  they  have  been  now  collected  and 
printed  in  a  more  convenient  and  permanent  form. 
May  they  serve  as  a  token  of  remembrance  from  the 
writer,  and  may  they  in  their  humble  way  add  a  little 
to  the  influence  of  those  who,  regarding  music  as  an 
object  worthy  of  human  pursuit  and  cultivation,  are 
exerting  themselves  for  its  improvement  and  universal 
diffusion. 


(S/OitUnta, 


LETTER   I. 

PACK 

The  Voyage — Buried  at  sea — Liverpool — Worcester  Cathedral — Choir — St.  Nicholas 
—Rev.  Mr.  Havergal— Psalmody— Organ-playing 11 


LETTER   II. 

A  Sunday  service  at  the  Foundling  Hospital,  London — St.  Marlin's-in-the-Fields 16 

LETTER   III. 

London  Thursday  Concerts,  Exeter  Hall 19 

LETTER   IV. 

Gcwandhaus  Concert— Mendelssohn— Crowded  Hall— Beethoven's  Symphony,  No. 
8— Overture  by  Gade 21 

LETTER   V. 

Concert  of  the  "  Musik-Yerciu's  Euterpe" — Symphony  by  Westmayer — Oberon — 
Mile.  Marie  Wieck— Old  and  New  School  of  Piano-forte  playing 27 

LETTER   VI. 

Gewandhaus  Concert— Julius  Rielz— Ilarman's  new  Symphony — Cherubini— Beetho- 
ven—Rossini— Mendelssohn  31 

LETTER   VII. 

Sketch  of  Moscheles,  the  celebrated  Pianist 35 

LETTER   VIII. 

Seventeenth  Gewandhaus  Concert— Ferdinand  David— Gluck's  "Iphigenie  in  Tau- 

ride"— Madame  Sontag— Central  Hall  Concert 41 

1* 


VI  CONTENTS. 

LETTER   IX. 

PAGK 

Madame  Sontag— The  two  Styles  of  Singing  compared— Mara— Catalani— Wagner 
— Lind— Sontag 44 

LETTER   X. 

"Thomaskirche"— Charity  Pupils— Order  of  Service— The  good  Organist— Essential 
Qualifications 51 

LETTER  XL 

'Musik-Vereins  Euterpe1'— Gluck— Cherubini— Bach— Part  Songs  by  men's  voices 
—Beethoven 57 

LETTER   XII. 

Robert  Schumann,  the  Composer — Clara  Schumann,  the  Pianist — Their  great  Con- 
cert      60 

LETTER   XIII. 

The   Concerts  —  Gewandhaus  —  David— Dreyschock  —  Rietz  —  Robert  Schumann 
—Quartet— Dupont 63 

LETTER  XIV. 

Church  of  St.  Nicholas— Martin  Luther— Singing  by  the  great  Congregation— Second 
Service— Small  attendance 66 

LETTER  XV. 

The  Conservatory  of  Music  at  Leipzig,  Germany 71 

LETTER   XVI. 

The  nineteenth  Gewandhaus  Concert— Robert  and  Clara  Schumann— Madame  Tuo 
zek-Herrenburg  of  Berlin 78 

LETTER   XVII. 

Dedication  of  the  Music  Hall  of  the  "Thomas  School"— M.  Hauptmann— Chorus 
Singing 80 

LETTER   XVIII. 

Distinct  Articulation  in  Singing— Congregational  Singing,  with  reference  to  the  ut- 
tering of  the  words 84 


CONTENTS.  Vll 

LETTER  XIX. 

PAOI 

U  r's  Church— Richter,  the  Organist— the  Tomb  of  Bach— Chorals  sung  at 
cr's 88 

LETTEE   XX. 

Concert  by  the  Pupils  of  the  Conservatory— Original  Overtures  by  the  Pupils 92 

LETTER   XXI. 

--ohn  and  Robert  Schumann 95 

LETTER   XXII. 

Berlin— Wilhelm  Bach— Symphonic  Concerts  and  Orchestral  Music— Military  Music 
—The  "Tod  Jesu"  by  Graun,  the  "Passion  Music"  by  Bach,  and  the  "Seven 
Word,"  by  Haydn 97 

LETTER  XXIII. 

Easter  Sunday— Music  in  the  Catholic  and  Protestant  Churches— The  Picture  Gal- 
lery—John  Schneider  the  Organist 101 

LETTER   XXIV. 

The  Dom-Kirche,  or  Cathedral— The  Exercises 105 

LETTER   XXV. 

The  Service  at  St.  Nicolai— Madame  de  La  Grange 116 

LETTER   XXVI. 

The  Leipzig  Fair 120 

LETTER.    XXVII. 

The  Reformed  Church— Singing— Preaching 124 

LETTER   XXVIII. 

Churches— Royal  Library— Military  Bands— Church  Music 120 


V1U  CONTENTS. 

LETTER  XXIX. 

PAQ* 

wietta  Sontag 131 

LETTER  XXX. 

*  Conservatorium  der  Musik" , 132 

LETTER  XXXI. 

Orlando  di  Lasso  and  Gluck— Professor  Dehn,  of  Berlin . 135 


LETTER   XXXII. 

Pestalozzl— Xageli — Church  Service— Sunday  School— Sacred  Concerts  in  America 
— Schiryder  Von  Wartensee 137 


LETTER  XXXIII. 

University— Castle — Singing  Conventions— Wine-casks— Duels— Jerome  of  Prague    140 

LETTER  XXXIV. 

Abbe  Vogler— Rinck — Music  in  Schools— The  Kappelmeister's  Wife  and  her  Rose    142 

LETTER  XXXV. 

Military  Music— Schnyder  von  Wartensee— Prof.  Schindler— Schmidt,  the  Pianist- 
Church  Music — Organ  Playing — Congregational  Singing 146 

LETTER  XXXYI. 

Matinee  —  Mozart  —  Bach  —  Elocution — Singing — Piano  forte — Bonn — Beethoven's 
Monument — Cologne — Aix-la-Chapelle — Don  Juan — Musical  Conventions 151 

LETTER  XXXVII. 

Church  Music— Catholic— Protestant— Old  Psalms— Hotel  des  Invalides— Concerts- 
Meyerbeer—  Onslow— Adam— Henrietta  Sontag— Americans— Etc 154 

LETTER  XXXVIII. 

Singing  in  the  Jewish  Synagogue ;  also  in  the  Church  St.  Roch 159 


CONTEXTS.  IX 

LETTER   XXX IX. 

PACK 

Concert  of  the  Musical  Union— Church  .Music— London  Sacred  Harmonic  Society— 
Opera  EUngera— Henrietta  Sontag— Bpohr 1CI 

LETTER    XL. 

Church  Music  in  the  Chapel  of  the  Rev.  Haptist  W.Noel 1C8 

LETTER   XLI. 

Grand  Musical  Festival  at  Dusscldorf 171 

LETTER   XLII. 

Birmingham  Festival— Powers  of  the  Musical  World— The  Market  Place— Service 
at  Rev.  Mr.  James'  Church— Sermon — Choir — Organ — Tunes— Church  of  St.  Mar- 
tin's— New  kind  of  Chanting — Bread  for  the  Poor— Wesleyan  Chapel — Rehearsal 
—Money  matters 195 

LETTER  XLIIf. 

The  Birmingham  Festival— Continued 204 


LETTER   XLIV. 

Funeral  Musical  Performances— Messiah— Elijah— Smaller   Musical  Associations— 
The  Oratorio  Societies  in  London — Exeter  Hall— Organ  Performance 251 


LETTER  XLV. 

St.  George's  Bloomshury— St.  Paul's  Cathedral— Dr.  Watts'  Chapel— Pickle  Shop- 
John  Newton 256* 

LETTER   XLVI. 

The  Norwich  Musical  Festival 258 

LETTER  XLVII. 

The  Tabernacle,  Moorflelds,  Finsbury— Wickliffc  Chapel,  Commercial  Road,  East      2S6 

LETTER   XLVIII. 

Moravian  Church— Baptist  Chapel,  Lyon  Street— Singing  in  Rev.  Mr.  Hrock's  Church  9M 


X  CONTEXTS. 

LETTER   XLIX. 

PAGE 

Wesleyan  Chapel,  Great  Queen  Street,  Lincoln's  Inn  Fields— Rev.  Baptist  Noel's 
Chapel— Lesson  on  Chanting,  by  G.  C.  Spencer— Anecdote— Stoke  Nevvington— 
Dr.  Walts's  Monument  and  Inscription J9.1 


LETTER   L. 

Sacred  Harmonic  Society— Samson— Christus— Spohr's  Last  Things -298 

LETTER   LI. 

St.  Paul's  Cathedral— Rev.  Mr.  Brock's  Church 300 


LETTER  LIT. 

Church  Music  in  Holland— Haarlem  Organ— Leyden— The  Hague— Bells— Hats  on 
— Reading  the  Bible  for  a  Voluntary 302 


LETTER   LIIL 

Dr.  Bexfield's  Lectures — English  Glee  and  Madrigal  Union — Oratorios — Sacred  Har- 
monic Society — Judas  Maccabeeus— Concerts 305 


LETTER  LIV. 

York — Dr.  Camidgc — Roughness    of  Boys'    Voices — Lord    Murray — Neukomm's 
Psalms— Rev.  Mr.  Guthrie — St.  Giles's  Cathedral— Choral  Singing  in  Scotland         309 


PIttsual  letters. 


LETTER   I. 

The  Voyage — Burial  at  Sea— Liverpool— Worcester  Cathedral— Choir— St.  Nicholas- 
Rev.  Mr.  Havergal— Psalmody— Organ  Playing. 

London,  Jan.  9th,  18o2. 

A  voyage  across  the  Atlantic  has  been  so  often  described, 
that  I  will  not  attempt  any  account  of  ours,  except  to  say  that 
it  was,  with  the  exception  of  a  day  or  two,  a  succession  of 
blows  and  gales,  rough  and  cold.  A  single  circumstance  may 
be  mentioned  in  a  death  at  sea.  We  were  just  rising  from 
the  dinner-table,  at  about  6  o'clock,  the  fourth  day  out,  when  a 
messenger  came  in  to  announce  to  the  captain  that  one  of  the 
passengers  in  the  forward  cabin  had  just  died.  The  captain  im- 
mediately went  out  to  ascertain  the  facts,  and  soon  returned 
with  the  information  that  a  man  had  died  suddenly,  and  appa- 
rently of  delirium  tremens.  The  burial  took  place  in  an  hour 
afterwards.  The  Episcopal  service  having  been  read  by  Rev. 
Dr.  Robinson,  who  was  a  passenger  on  board,  the  body  was 
consigned  to  the  deep  as  its  last  resting-place.  Death  is  al- 
ways solemn,  but  it  seemed  peculiarly  so  at  sea — in  a  storm, 
just  at  night,  it  being  already  dark,  the  wind  blowing,  the 
ocean  foaming  and  roaring,  and  the  ship,  though  by  the  power 
of  her  mighty  engines  steadily  pursuing  her  way,  tossing  here 
and  there  a  nut-shell  upon  the  mighty  billows. 


12  CATHEDRAL — CHANTING. 

Eleven  days  and  a  half  brought  us  safely  to  Liverpool, 
where  we  arrived  on  New  Year's  morning,  at  about  6  o'clock. 
Taking  a  hasty  look  of  the  city,  where  we  landed,  we  proceeded 
the  next  day  to  the  old  city  of  Worcester,  delightfully  situated 
on  the  banks  of  the  river  Severn,  where  we  took  lodgings  for 
the  Sabbath  at  the  "  Star  and  Garter  Hotel."  This  was  the 
last  city  that  held  out  against  Cromwell,  and  in  September, 
1651,  the  decisive  battle  was  here  fought  which  established  his 
authority,  and  which  destroyed  the  hopes  of  the  Royalists. 
The  Cathedral  is,  of  course,  an  object  of  curiosity  and  interest. 
It  is  in  the  form  of  a  double  cross,  in  different  styles  of  archi- 
tecture, yet  exhibiting  unity  or  harmony  of  design.  The 
tower,  about  170  feet  in  height,  is  very  beautiful  and  grand. 
There  are  many  interesting  monuments  contained  in  different 
parts  of  the  building ;  that  of  King  John  in  the  choir  attracts, 
perhaps,  most  attention.  A  full-length  effigy  of  the  King  lies 
on  the  top  of  the  tomb.  The  King  was  buried  here,  (1216,) 
by  his  own  desire,  in  a  monk's  cowl,  to  expedite  his  passage 
through  purgatory. 

We  attended  the"  daily  service  on  Saturday,  at  3  o'clock. 
The  prayers,  litany,  &c,  were  all  intoned  or  recited  to  the 
plain  chant  by  one  of  the  canons  of  the  cathedral,  with  the 
usual  responses  by  the  choir.  The  psalms  for  the  day  were 
chanted  by  the  choir,  consisting  of  sixteen  or  eighteen  boys  and 
men,  who  also  sung  the  canticles  set  in  the  service  or  anthem 
form,  by  Dr.  Nares. 

The  chanting  was  poor  enough,  at  least,  for  three  reasons : 
1st.  Great  rapidity  of  utterance.  2d.  No  two  members  of  the 
choir  kept  together.  3d.  The  enunciation  of  the  words  was  so 
careless,  that  it  was  with  difficulty  one  could  keep  the  place  and 
follow  the  performance,  even  with  book  in  hand.  There  was, 
of  course,  nothing  like  attention  to  the  sense  of  the  psalms — 


CONGREGATIONAL   SINGING.  13 

there  was  no  appropriate  emphasis,  or  any  more  expression, 
than  would  be  given  by  a  hand-organ  or  grind-stone.  The 
great  leading  object  seemed  to  be  to  hurry  on,  and  get  through 
as  quickly  as  possible.  One  good  point,  however,  in  the  chant- 
hit:  was  the  absence  of  all  drawling  in  the  cadences.  The 
tones  were  not  prolonged,  but  were  delivered  in  quick  suc- 
cession. 

On  Sunday  morning,  at  11  o'clock,  we  attended  divine  ser- 
vice in  the  parish  church  of  St.  Nicholas,  lie  v.  Mr.  Havergal 
rector.  The  exercises  commenced  by  a  few  measures  as  a  vol 
untary,  or  rather  prelude,  and  the  "  giving  out "  the  tune  on  the 
organ,  after  which  all  the  congregation  united  in  a  single  stanza 
sung  to  the  old  tune  called  M  Tallis's  Evening  Hymn.''  The 
hymn  was  not  read  nor  named,  but  it  appeared  to  be  a  com- 
mon thing  for  the  worship  to  commence  in  the  use  of  a  stanza 
well  known,  always  the  same,  and  to  the  same  tune.  It  was  a 
hearty  commencement,  for  every  one  seemed  to  join  with  full 
voice.  The  service  was  read  by  the  curate.  The  chanting 
was  done  by  the  whole  congregation,  and  the  responding  was 
between  the  occupants  of  the  lower  floor  and  those  of  the  gal- 
lery— but  the  song  was  universal — men,  women  and  children 
uniting  harmonious  voices.  The  Vcnite  and  the  Te  Deum 
were  chanted  responsively ;  the  psalms  were  not  chanted  but, 
read  in  the  usual  manner.  Two  metrical  hymns  were  sung 
during  the  service.  The  tunes  were  both  of  the  old  ecclesiasti- 
cal class,  and  were  in  the  same  rhythmic  form  as  St.  Ann's, 
York,  &c.  appear  in  the  Cantica  Laudis.  The  first  and  last 
words  of  each  line  being  long,  and  all  the  rest  short.  They 
wtii'  sung  by  all  the  people,  and  in  very  quick  time ;  as  fast  as 
propriety  would  allow  the  enunciation  of  the  words.  They 
were  sung  somewhat  quicker  than  the  writer  has  taught  this 
class  of  tunes  in   musical  conventions  and   singing  oUse 


14  REV.   MR.   HAVERGAL. 

America.  Let  the  tune  Uxbridge,  for  example,  be  sung  in 
quick  time,  somewhat  quicker  than  usual,  and  the  crotchets  will 
give  the  time  of  the  minims  in  the  above-named  class  of  tunes. 
There  were  one  or  two  organ  interludes  introduced  in  a  psalm 
of  five  stanzas ;  but  these  were  very  short,  not  more  than 
about  two  measures,  or  the  length  of  the  last  line  of  a  common 
metre  tune.  "  These  tunes  would  be  popular  in  America"  said 
the  lady  who  was  with  me,  who,  though  not  a  singer,  has  been 
accustomed  for  many  years  to  give  close  attention  to  the  Psal- 
mody, and  to  hear  criticisms  and  remarks  concerning  it.  And 
indeed,  they  are  as  far  from  being  dull  and  heavy  as  need  be ; 
I  doubt  not  that  many  good  people,  with  us,  would  think  it  al- 
most irreverent  to  sing  a  hymn  through  with  such  rapidity. 
Yet  all  the  people,  old  and  young,  joined — all  seemed  to  know 
the  tunes  perfectly,  and  all  kept  well  together. 

Mr.  Havergal  is  himself,  as  is  well  known,  much  of  a  musi- 
cal man,  and  an  excellent  composer.  He  has  once  or  twice 
obtained  the  Gresham  prize  medal  for  the  best  composition  of 
a  church  service  or  anthem  ;  and  he  is  well-known  by  numer- 
ous sacred  songs,  published  with  pianoforte  accompaniment. 
But  it  is  metrical  psalmody  and  the  chant  in  which  he  is  most 
interested,  and  in  which  he  has  produced  some  very  fine  speci- 
mens. He  only  devotes  odds  and  ends  of  time  to  music,  and 
never  writes  music  when  he  is  able  to  write  sermons ;  but  it 
has  been,  when  weary  with  the  labors  of  the  day,  or  when 
travelling,  that  he  has  composed  most  of  his  popular  and  ex- 
cellent tunes.  He  has  many  curious  and  valuable  old  books 
of  psalmody,  and  is  now  himself  writing,  as  he  can  find  time, 
some  historical  notice  of  the  "  Old  Hundredth  Psalm  Tune." 

In  the  afternoon  of  Sunday,  we  again  attended  the  cathedral 
service.  The  officiating  canon  and  the  choir  went  through  it 
with  the  speed  of  railroad  travelling,  and  if  that  is  well  done 


CATHEDRAL  SERVICE.  15 

which  is  done  quickly,  then  this  was  well  indeed.  But  the  idea 
of  worship  in  such  a  service,  who  would  think  of  it,  or  suppose 
for  a  moment  that  confession,  supplication,  thanksgiving  and 
adoration,  had  any  part  or  lot  in  the  matter. 

We  have  had  opportunity  to  attend  but  one  public  religious 
service  in  London,  in  the  daily  cathedral  service  at  St.  Paul's. 
It  was  nearly  the  same  as  at  the  Worcester  cathedral.  The 
choir  is  a  little  larger,  but  the  same  irreverent  hurrying  pre- 
vails. The  manner  of  treating  the  cadences  in  the  chant  I  like, 
for  there  is  no  singing,  drawling  style,  but  the  tones  are  short 
and  words  quickly  spoken ;  but  with  respect  to  the  chanting  in 
other  respects,  or  in  general,  it  is  all  confused,  inarticulate, 
rapid  and  unsatisfactory — still  it  is  not  relatively,  perhaps,  much 
quicker  than  the  other  parts  of  the  service.  A  company  of 
hungry  ones  in  a  second  or  third-rate  American  hotel  do  not 
eat  their  dinner  in  greater  speed  than  these  humble  confessions 
and  prayers  are  recited. 

It  is  quite  astonishing  that  good  people  from  America,  min- 
isters and  others,  should  write  in  such  glowing  terms  of  the 
cathedral  music  of  England.  It  is  as  unfit  for  our  purposes  as 
are  their  cathedrals,  or  their  Church  and  State  dependence  and 
connection.  One  does  not  wonder  at  the  old  Puritans,  or#t 
their  rejection  of  all  chantings,  and  organ  play  ings.  and  respond- 
in  ■_!>.  and  liturgies,  when  he  sees  the  very  great  abuses  of  these 
things  here.  It  does  not  follow  that  they  are  necessarily  bad 
things,  because  we  see  them  so  much  abused ;  but  it  surely 
becomes  us  to  guard  against  these  abuses  of  them,  as  they  are 
introduced  into  the  churches  of  New-England. 

The  organ  in  particular,  if  we  err  not,  is  already  sadly  abused 
in  many  of  our  churches.  Light  and  silly  voluntaries,  long  and 
unmeaning  interludes  between  the  stanzas,  loud  accompaniment, 
fancy  stop,  and  see-saw  swe //-playing,  and  other  things,  call  for 


16  ORGAN  PLAYING. 

reformation.  Indeed,  unless  the  organ  can  be  used  as  a  simple 
aid  to  worship,  surely  it  had  better  be  altogether  dispensed 
with. 

I  have  omitted  to  mention  one  important  point  in  the  use  of 
the  organ,  both  at  the  parish  church  and  at  the  cathedral  in 
Worcester.  It  was  this,  viz. :  the  closing  voluntary,  in  both 
cases,  consisted  of  an  introduction  and  fugue  played  in  excellent 
style.  How  noble  and  elevating  is  the  fugue ;  this  most  learned 
and  most  interesting  style  of  music  is  admirably  adapted  to  the 
organ,  and  no  person  ought  to  be  regarded  as  an  organist  who 
cannot  play  with  a  clear  and  distinct  articulation,  a  strict  fugue 
— yea,  even  a  Bach  ! 

I  will  also  add  that  both  organs  at  Worcester  (as  also  St. 
Paul's  here)  were  played  in  the  true  organ  style,  and  without 
the  slightest  tendency  to  the  light,  frivolous,  overture,  polka, 
waltz,  dance-prevailing  manner  so  common  with  us.  Dr. 
Hodges,  in  New  York,  and  the  elder  Hayter,  in  Trinity  church, 
Boston,  are  both  fine  specimens  of  well-educated  English  or- 
ganists. 


LETTER  II. 

A  Sunday  Service  at  the  Foundling  Hospital,  London— St.  Martins-in-the-Fields. 

London,  January  15,  1852. 

This  establishment  is  interesting  to  musical  people,  from  the 
fact  that  Handel  was  one  of  its  patrons,  composing  for  it,  and 
performing  his  music  for  its  benefit.  **A  tablet  is  seen  in  one 
of  the  rooms,  with  the  amount  received  for  several  years  in 
succession   from   Oratorios   given.      But   alas!  for  the  music 


FOUNDLING   HOSPITAL.  17 

now ;  it  is  anything  but  church  music.  There  are  nearly 
400  children,  about  half  of  each  sex ;  they  all  sit  in  the  organ 
loft,  and  all  sing  the  chants,  responses,  tunes,  and  service^. 
They  are  dressed  in  a  neat  uniform,  the  boys  in  blue,  with  a 
white  collar  turned  down,  and  the  girls  with  white  caps  and 
aprons.  The  organ  loft  is  so  arranged,  that  by  the  raised  seats 
every  one  can  be  distinctly  seen. 

The  service  commenced  by  an  organ  voluntary ;  and  a  lighter, 
more  frivolous  piece  of  organ-playing,  I  never  heard.  It  was 
an  attempt  at  a  kind  of  extemporaneous  overture  with  fancy 
stops,  flute,  oboe,  &c,  and  great  organ  contrasts,  staccato  pas- 
sages, sudden  pianos,  and  fortes,  and  sforzandos,  in  little  scraps 
of  melody,  light  as  the  lightest  of  Donizetti  or  Verdi,  with- 
out dignity,  solemnity,  character,  or  sense.  Not  a  particle 
of  reverence  about  it.  I  have  heard  the  organ  abused  before, 
and  degraded  enough,  but  this  was  the  climax  of  organ  absurdity 
and  degradation. 

In  the  chanting  the  children  kept  together,  and  there  was  the 
entire  absence  of  that  drawling  in  the  cadences,  so  common  in 
America.  The  notes  in  the  cadences  were  very  quickly  sung — 
very  much  quicker  than  I  have  been  accustomed  to  teach  them, 
yet  not  too  quick.  But  little  attention  was  given  to  words — 
they  were  not  properly  delivered ;  but  the  smaller  words  were 
omitted,  and  many  were  so  clipped  or  abridged  as  to  be  deci- 
dedly coarse  or  vulgar,  as 

"  Glory  be  f  'lie  Father."  etc.     "  As  't  was  n  th'  beginning,''  £c. 

This  was  particularly  observable  in  the  monotone  recitation  of 
the  Lord's  Prayer  and  Creed. 

The  Te  Deum  was  sung  in  anthem  form,  and  was  well  done 
- — j.  e.  they  all  kept  together,  pronouncing  the  wrords  with  the 


18  CHILDREN   AT  DINNER. 

speed  of  an  auctioneer,  but  without  any  attention  to  sense,  em- 
phasis, pause,  and  the  like. 

A  strange  psalm  tune  was  sung.  It  was  like  an  andante  alle- 
gretto, with  marked  time,  by  Haydn.  Strange  indeed,  to  hear 
a  hymn  so  sung  to  music  so  very  light  and  inappropriate.  But 
it  was  well  done,  that  is,  they  all  went  through  it  together,  as 
true  as  a  factory  wheel  goes  round,  and  with  as  much  express- 
ion and  good  taste. 

In  the  place  of  an  anthem,  an  extract  from  the  Messiah  was 
sung.  Rec.  "  For  behold  darkness,"  &c. ;  aria,  "  The  people 
that  walked,"  and  the  chorus  "  For  unto  us."  The  bass  song 
was  well  done,  by  a  fine  voice,  and  in  quite  an  artistic  manner. 
The  singer  did  himself  much  credit  indeed,  but  the  chorus  was 
a  failure — the  little  things  [children]  kept  along  and  got  through 
with  it,  but  no  character  was  given  to  it  whatever.  It  is  not 
children's  music.  Children  might  as  well  be  required  to  read 
Shakspeare,  as  to  sing  Handel.  They  may  hit  the  tones,  but 
they  cannot  sing  the  music. 

The  organ  accompaniment  was  here  excellent — orchestra 
style  was  required,  and  orchestra  style  was  played.  The 
staccato  was  boldly,  cleanly,  and  most  distinctly  given.  In- 
deed the  organ  was  made  a  most  excellent  substitute  for  an 
orchestra ;  and  very  great  skill  indeed  was  manifested  by  the 
organist. 

A  very  excellent  and  instructive  sermon  followed ;  the  whole 
service  occupying  a  little  more  than  two  hours. 

We  were  now  permitted  to  follow,  or  rather  to  precede  the 
children  to  their  dining  room.  We  took  our  stand  in  the  boys' 
room,  and  in  a  few  minutes  the  two  hundred  little  fellows 
marched  into  the  room,  and  took  their  places  at  the  tables  in 
most  perfect  order.  Four  of  the  larger  boys  had  clarionets  in 
^eir  hands,  and,  on  a  signal  being  given,  the  whole  company 


CHURCH   OF   ST.    MARTINS.  19 

folded  their  hands  and  shut  their  eyes  and  sang  a  grace,  accom- 
panied by  the  clarionets.  This  was  the  most  affecting  song 
of  the  day ;  it  was  indeed  much  aided  by  sight,  but  the 
effect  was  to  "  enforce  tears  "  from  many  an  eye.  This  being 
over,  the  music  of  knives  and  forks  was  heard — and  the  nice 
roast  beef  and  boiled  potatoes  appeared  to  be  gratefully,  or 
certainly  gladly  received.  We  also  passed  through  the  girls' 
room,  and  saw  them  at  their  dinner. 

In  the  afternoon  we  attended  church  at  St.  Martin' s-in-the- 
fields ;  but  as  this  communication  is  already  sufficiently  long, 
we  will  only  speak  of  the  organ-playing.  It  was  in  legitimate 
style,  and  formed  a  striking  contrast  to  the  Foundling  Hospital 
organ.  The  true  organ  style  was  here  given ;  like  the  organ  at 
St.  Paul's  and  at  Westminster  Abbey,  there  was  nothing  light, 
trifling,  and  silly,  but  the  lofty  diapasons  told  their  story  with 
a  dignity  and  a  grandeur  becoming  the  house  of  God.  Truly 
the  organ  is  a  noble  instrument,  but  it  may  be  awfully  degraded 
and  sadly  abused  ! 


LETTER  III. 


London  Thursday  Concerts,  Exeter  Hall. 

London,  January  15,  1852. 

Tins  is  a  series  of  concerts  for  the  people,  at  a  low  charge ; 
the  prices  being  four  shillings,  two  shillings,  and  one  shilling, 
according  to  the  class  of  scats.  They  consist  of  vocal  and 
instrumental  music,  but  without  orchestra.  They  employ  some 
five  or  six  solo  performers,  and  a  choir  of  about  forty-five  chor- 
isters. Glees  and  madrigals  are  sung  by  the  choir,  and  songs, 
duets,  &c.,  by  the  solo  voices,  with  piano  forte  pieces,  violin 


20  EXETER  HALL. 

pieces,  or  other  instruments  as  it  may  be  convenient  to  obtain 
for  the  different  concerts.  I  attended  the  second  of  the  series 
on  Thursday  last.  The  large  Exeter  Hall  was  full  of  people, 
who  seemed  to  be  much  delighted  with  the  music ;  indeed  I 
thought  that  there  was  more  warmth  of  approval  exhibited 
there  than  we  usually  see  at  the  best  concerts  with  us.  The 
solo  performers  were  Miss  Pyne,  Miss  Louisa  Pyne,  Miss 
Binckes,  Mr.  Swift,  (a  new  tenor,)  Herr  Jonghmans,  Mr.  Cot- 
ton, and  Mr.  Whitworth.  Miss  Goddard  played  serenade  (Don 
Pasquale),  by  Thalberg,  and  also  an  andante  and  rondo  capri- 
sioso  by  Mendelssohn,  on  the  piano  forte,  and  Mr.  Richardson 
played  an  air  with  variations  on  the  flute.  Miss  Binckes  has  a 
very  fine  voice,  and  sung  to  the  great  acceptance  of  the  audience, 
and  Miss  Louisa  Pyne  sung  quite  a  difficult  aria  by  Rode, 
which  called  forth  a  most  enthusiastic  encore.  The  pieces  for 
full  choir  were  performed  without  accompaniment,  not  even 
the  piano  forte  being  played  ;  and  although  I  have  heard  a  bet- 
ter chorus  at  home,  yet  this  was  truly  good.  The  concert  was 
conducted  by  Mr.  T.  H.  Severn.  The  programme  contained 
the  music  to  the  National  Anthem,  printed  in  full  in  four  parts, 
and  the  whole  audience  joined  in  this  the  closing  chorus : 

i:  God  save  our  gracious  Queen, 
Long  may  Victoria  reign ; 

God  save  the  Queen ! 
Send  her  victorious, 
Happy  and  glorious, 
Long  to  reign  over  us, 

God  save  the  Queen ! 

"  0  Lord  our  God  arise, 
Scatter  her  enemies, 

And  make  them  fall. 


GOP  SAVE  THE   QUEEN".  21 

Confound  their  politi 
Frustrate  their  knavish  tricks, 
On  Thee  our  hopes  we  fix, 
God  save  us  all. 

"Thy  choicest  gifts  in  store 
On  her  be  pleased  to  pour. 
Long  may  she  reign  ; 
May  she  defend  our  laws, 
And  ever  give  us  cause, 
To  sing  with  heart  and  voice, 
God  save  the  Queen  ! 

There  is  but  little  music  in  London  just  now :  it  yields  to 
the  Christmas  holidays,  which  are  hardly  over  as  yet.  There 
is  to  be  a  grand  performance  of  Mendelssohn's  hymn  of  Praise 
and  of  Athalie  on  the  28th  of  January,  and  of  Elijah  on  the 
30th,  but  before  that  time  I  hope  to  be  in  Germany. 


LETTEPw  IV. 

Gewandhaus  Concert— Mendelssohn— Crowded  hall— Beethoven's  Symphony  No.  P  - 
Overture  by  Gade. 

LEirsiG,  January  22, 1852. 

I  have  this  evening  had  an  opportunity  of  attending  one  of 
the  famous  subscription  concerts  in  this  city,  known  as  the 
Gewandhaus  Concerts. 

The  concert  room  is  not  large,  but  convenient,  and  good  for 
musical  effect.  The  centre  of  the  room  is  occupied  by  ladies, 
and  the  outer  scats  mostly  by  gentlemen.  A  narrow  gallery, 
in  which  are  a  number  of  private  boxes,  runs  round  the  room. 
The  first  object  of  attraction,  after  entering  the  room,  is  a  line 
large  medallion  of  Mendelssohn,  back  flf  the  orchestra ;  there 


22  MENDELSSOHN. 

is  no  other  bust  or  picture  in  the  room.  It  makes  one  feel  sad 
when  looking  at  this  fine  representation  of  the  great  modern 
composer,  in  the  very  room  where  he  has  been,  and  still  is,  so 
highly  appreciated,  and  where  he  has  so  often  triumphed  glori- 
ously, to  think  that  he  was  cut  off  in  his  youth,  and  that  the 
musical  world,  after  so  short  a  time  of  enjoyment,  was  deprived 
of  the  talents  and  learning  of  one  who  promised  to  do  for 
music,  perhaps,  more  than  any  man  living.  At  almost  every 
concert,  more  or  less  of  his  music  is  performed  ;  his  memory  is 
cherished,  not  only  here,  where  he  was  so  well  known,  but  by 
all  the  musical  world,  and  his  name  shall  be  held  in  everlasting 
remembrance. 

A  crowd  of  people  were  waiting  round  the  door,  when  we 
arrived ;  and,  although  it  was  an  hour  before  the  time  for  the 
performance  to  commence,  the  room  was  filled,  (save  the  re- 
served seats  in  the  gallery,)  in  a  few  minutes  after  the  door 
was  opened.  One  must  be  on  hand  at  an  early  hour  to  get  a 
good  seat.  In  about  half  an  hour  the  members  of  the  orchestra 
began  to  make  their  appearance,  and  as  all  the  people  in  the 
house  were  talking  loud,  so  the  musicians,  as  they  came  in,  one 
after  another,  began  to  tune,  to  try  their  instruments,  and  to 
amuse  themselves  by  running  over  the  scales ;  so  that  by  the 
time  they  were  all  there,  thus  employed,  the  room  was  filled 
with  sound ;  the  more  so  because,  as  the  musicians  began  to  ex- 
ercise themselves  upon  their  instruments,  the  talking  and 
laughing  grew  louder  and  louder,  and  at  a  quarter  of  an  hour 
before  the  commencement  of  the  music,  it  was  a  perfect  Babel 
in  the  concert  room,  and  as  difficult  to  hear  one  speak  as  it  is 
in  a  railroad  car,  with  all  the  windows  open,  in  summer.  But 
a  few  minutes  before  the  hour,  the  room  began  to  grow  quiet, 
musical  expectation  began  to  awaken,  and  when,  as  the  precise 
moment  arrived,  the  conductor's  signal  was  heard,  everything 


CHORUS  OF  VIOLINS.  23 

was  still,  and  perfect  silence  took  the  place  of  noise  and  con- 
fusion. Another  signal,  and  the  whole  band,  as  one  man,  were 
heard  interpreting  and  presenting  to  a  most  attentive  audience, 
one  of  the  great  works  of  the  immortal  Beethoven. 

It  was  the  Sinfonie  No.  8,  F  major.  This  is  not  regarded  as 
one  of  Beethoven's  greatest  triumphs ;  but,  although  it  is  light 
and  playful,  it  abounds  in  each  of  its  four  movements,  with  the 
most  fanciful  and  imaginative  melodic  figures,  contrapuntal 
points,  and  instrumental  contrasts.  Ever  lively  and  ever  new, 
it  never  tires,  but  holds  one  in  a  kind  of  musical  ecstasy  from 
beginning  to  end;  there  seems  to  be  no  place  where  one  can 
relax  attention,  or  cease  to  be  filled  with  musical  delight ;  so 
that  at  the  close  of  each  part,  a  good  long  breath  naturally 
comes  in  as  a  relief;  and  one  becomes  conscious  of  the  inten- 
sity of  the  application  he  has  been  giving  to  the  discourse. 

The  verv  first  thing  which  strikes  one,  on  hearing  such  an 
orchestra  as  this,  is  the  perfect  oneness  of  the  violins.  They 
do,  indeed,  constitute  a  perfect  chorus — ten  or  more  persons 
are  playing  the  first  violin,  and  as  many  more  the  second ;  but 
they  are  all  artists,  and,  therefore,  each  one  loses  himself;  no 
one  is  heard  above  the  others ;  but  all  so  beautifully  blend  as 
to  constitute  one  perfect  whole.  This  is  the  perfection  of  a 
chorus,  be  it  vocal  or  instrumental ;  and  this  effect  is  produced 
by  the  Gewandhaus  Orchestra. 

Another  point,  immediately  noticed,  is  the  proper  proportion 
of  wind  and  stringed  instruments;  but  perhaps  the  most  strik- 
ing point,  as  contrasted  with  our  American  orchestras,  is  the 
perfection  of  the  wind  instruments.  It  is  too  often  the  case 
in  our  orchestras  that  some  wind  instrument  is  wanting; 
thus  the  oboe  or  the  faggotto  is  often  missing;  and  again, 
it  is  not  unfrequentlv  the  case  that,  although  there  may  be 
some  one  to  hold  these  or  other  instruments  in  the  hand,  or  up 


24  PERFECT   ORCHESTRAL   PLAYIXG. 

to  the  sight  of  the  audience,  a  tone  is  seldom  permitted  to  es- 
cape from  them ;  they  are  seen  but  not  heard.  Not  so  here  ; 
every  instrument  is  not  only  represented  to  the  eye,  but  is  in 
the  hands  of  a  master  who  makes  it  speak  to  the  ear.  The  con- 
sequence is,  that  such  combinations  fall  upon  the  ear  as  are  not 
heard  with  us.  The  brass  instruments  too  are  made  to  tell 
their  story  without  any  impediment  of  speech ;  whereas,  with 
us,  they  stutter,  or  falter,  or  hem,  or  cough,  to  the  no  small  dis- 
turbance of  the  equilibrium  of  one's  temper.  We  do  not 
know  that  in  this  concert  every  instrument  is  played  in  all 
respects  right ;  we  do  not  know  but  some  notes  may  have  been 
omitted,  or  wrong  tones  produced,  but  certain  are  we  that  we 
did  not  discover  any  such  imperfections.  There  are  four  things, 
(technical  points,)  that  we  have  seldom  heard  well  exhibited 
elsewhere,  which  were  exceedingly  well  brought  out  here,  viz. : 
Piano,  Crescendo,  Diminuendo  and  Fortzando.  These,  with  the 
other  technicals  of  playing  were  so  well  observed,  that  added  to 
the  pure  tone  peculiar  to  each  particular  instrument,  and  con- 
nected with  a  most  perfect  amalgamation  or  blending  of  all  the 
different  elements  of  the  orchestra,  they  seemed  to  produce,  not 
a  mere  musical  performance  to  be  listened  to,  but  a  living  be- 
ing, or  moral,  spiritual  existence,  capable  of  expressing  the 
deepest  feeling,  and  of  calling  forth  the  strongest  sympathies  of 
humanity. 

The  Sinfonie  being  over,  and  a  few  moments  for  rest  having 
been  given,  old  Handel  visited  us  in  an  Arie  from  his  Opera 
"  Aerio" — "Folle  e  colui  che  al  tuo  favor  si  fida."  It  was  sung 
by  Herrn  Salvatore  Marchesi,  who  was  the  only  vocalist  for 
the  evening.  The  song  was  well  sung ;  but  we  sometimes  hear 
quite  as  good  singing  across  the  Atlantic.  Belletti  is  decidedly 
his  superior.  The  third  piece  was  a  Flute  Concerto ;  it  was  a 
tiresome  affair.     A  Flute  Concerto  is  a  Flute  Co-icerto,  whether 


GOOD   MANNERS  IN  A  CONCERT   ROOM.  25 

in  the  Gewandhaus,  Hanover  Square  rooms,  Tripler  Hall  or 
llif  Melodeon  ;  and  although  it  may  not  be  always  played  by 
Herrn  W.  Ilaake,  (who  certainly  did  his  duty  well.)  it  is  al- 
ways the  most  dry  and  uninteresting  of  musical  performances. 

In  part  *2d  was  given,  1st,  the  beautiful  overture  Echoes  of 
Ossian,  (often  played  in  New  York  and  Boston,)  by  N.  W. 
Gade.  2d.  Arie  from  Zauberflote,  by  Mozart,  "  Qui  sclegno 
non  s'  accende."  3d.  Mendelssohn's  concerto  for  the  piano 
forte,  in  D.  Minor.  4th.  Arie  from  Don  Giovanni,  by  Mozart, 
•■  Madamina,  il  catalogo  e  questo"  and  5th.  The  very  fine  over- 
ture to  the  opera,  "  Der  Wassertrager,"  by  Cherubini. 

Gade's  overture  may  be  regarded  as  a  sacred  piece.  It 
speaks  of  greatness,  and  calls  forth  emotions  of  the  sublime. 
Something  like  an  Old  Chorale  pervades  the  whole,  which 
seems  to  tell  of  worship,  and  to  call  forth  humble  adoration. 
With  what  grandeur  this  subject  was  given  out,  and  oft  in  the 
course  of  the  piece  alluded  to  by  the  brass  instruments,  or  ex- 
emplified and  illustrated  by  the  others,  cannot  be  told.  The 
overture  is  known  with  us,  but  it  requires  and  deserves  close 
study. 

The  Piano  Forte  Concerto,  D  (not  G)  Minor,  foiled  for 
want  of  a  performer;  a  highly  promising  young  lad  of  the  con- 
servatory attempted  it,  but  he  had  neither  grasp  of  mind  nor  of 
hand  enough  for  Mendelssohn.  Herr  Marchesi  sang  both 
airs  well,  gaining  for  himself  decided  applause. 

On  the  whole,  here  is  a  highly-talented  and  well-regulated 
orchestra.  The  conductor  for  the  evening  was  Julius  Iiietz, 
well  known  to  the  musical  world. 

J  will  mention  one  or  two  things  about  the  audience: 

1st.  Gentlemen  took  off  their  hats  before  passing  the  door  of 

the  hall,  all  of  them,  without  a  single  exception  ;   and  this,  al 

though  they  were  there  an  hour  before  the  performance  coit> 

o 


26  PROGRESS   IN  AMERICA. 

menced.  There  was  not  a  single  man  standing  under  the  gal- 
leries or  near  the  doors,  uncovered.  The  ungentlemanly  act  of 
standing  or  sitting  in  a  concert  room  with  hats  on,  could  not  be 
seen  in  the  Gewandhaus. 

2d.  Ladies  were  all  in  full  dress. 

3d.  There  was  silence  during  the  performance  of  music. 
The  moment  the  music  ceased,  then  indeed  there  was  a  perfect 
buzzing  of  voices,  and  very  loud  talking  all  over  the  room ;  but 
at  the  signal  for  the  commencement  of  the  music,  all  was  still ; 
and  we  were  not  prevented  from  hearing  the  music  by  those 
whisperings  so  annoying  in  some  places. 

On  the  whole,  this  was  a  very  fine  concert;  the  orchestra 
playing  was  as  near  to  perfection,  I  doubt  not,  as  can  often  be 
found  ;  and  that  constitutes  the  great  attraction  of  the  Gewand- 
haus. Every  man  seems  to  be  able  to  play  on  his  own  instru- 
ment well ;  every  man  seems  to  give  undivided  attention  to  the 
music,  and  to  endeavor  to  observe  carefully,  not  only  the 
time,  as  given  by  the  conductor,  but  all  those  little  gesticula- 
tions by  which  expression  is  indicated.  Our  orchestra  playing 
in  America  is  fast  improving.  The  Philharmonic  of  New 
York,  the  Musical  Fund  of  Boston,  and  may  I  not  say, 
especially  the  Gcrmania?is,  have  each  done  much  to  advance 
this  cause.  We  must  indeed  be  dependent  upon  foreign  artists 
for  generations  to  come ;  so  it  is  even  in  England,  where  no 
small  portion  of  the  performers  are  Germans ;  but  we  shall  run 
faster  when  once  fairly  started,  than  the  English.  The  cause  of 
musical  education  has  already  taken  deep  root  with  us ;  our 
music  teachers  are  more  numerous  and  more  competent  than 
they  were  a  few  years  ago ;  many  promising  young  men  are 
entering  the  profession,  and  the  work  of  teaching  children  and 
of  teaching  in  schools  is  constantly  on  the  advance.  Better 
music,  too,  is  being  published  now  than  formerly  ;  the  sonatas 


MUSIK-VEREINS   EUTERPE.  27 

of  Mozart  and  Beethoven,  for  piano  forte,  and  Gems  of  German 
song  in  the  vocal  department,  are  only  specimens  of  what  is  be- 
ing done  in  this  way.  But  I  must  not  enlarge.  I  only  add 
that  at  the  concert  of  which  I  have  tried  to  give  some  account, 
two  young  Bostonians,  students  in  music  here,  were  seated  be- 
side me,  (J.  C.  D.  P.  and  W.  M.,)  both  of  whom,  it  is  to  be 
hoped,  will  ere  long  be  engaged  in  the  work,  doing  their  part 
to  advance  an  art  and  a  science  so  important  to  human  im- 
provement and  happiness. 


LETTER    V. 

Concert  of  the  "  Musik-Vereius  Euterpe"— Symphony  by  Westmayer— Von  Weber's 
Oberon — Mdlle.  Marie  Wieck— Old  and  New  School  of  Piano  Forte  playing. 

Leipzio,  January  27,  1852. 

These  concerts  are  similar  to  the  celebrated  Gewandhaus 
Concerts.  They  are  held  in  a  somewhat  smaller  room,  and  at 
a  small  subscription  price,  and  are  given  only  once  in  two 
weeks.  The  orchestra  consists  of  about  sixty  talented  mu- 
sicians, and  if  Dreyschock  and  David  are  not  seen  leading  the 
violins  here  as  at  the  Gewandhaus,  they,  together  with  the  other 
instruments,  string  and  wind,  are  in  the  hands  of  artists  of  de- 
servedly high  reputation.  The  selections  are  also  of  the  high- 
est order,  and  the  Euterpe  presents  its  patrons  with  the  works 
of  the  great  masters  in  a  style  worthy  of  a  Leipzig  concert. 

At  a  quarter  of  an  hour  before  the  time  of  commencement, 
the  members  of  the  orchestra  were  in  their  places,  talking, 
tuning  and  getting  ready.  This,  together  with  the  general  con- 
versation of  the  people  assembled,  produces  abuzzing  chorus  of 


28  SYMPHONY  BY    WESTMAYER. 

great  power — a  chorus  with  which  the  Leipzig  concerts  com- 
mence. Every  ticket  was  sold  at  an  early  hour,  and  of  course 
every  seat  was  occupied. 

The  concert  commenced  precisely  at  the  hour  appointed,  with 
a  new  Sinfonie  in  E  flat  Major,  in  manuscript,  by  W.  Westmayer, 
who  conducted  the  performance.  He  is  a  young  candidate  for 
fame,  who  has  been  educated  at  the  Conservatory  here,  and 
who  is  regarded  as  already  a  successful  composer.  The  Sim 
fonie  consisted  of  four  parts,  and  occupied  in  its  performance 
exactly  thirty-eight  minutes.  I  dare  not  attempt  anything  like 
a  particular  description  of  it,  or  comparison  of  it  with  other  like 
compositions ;  it  was  listened  to  with  good  attention  by  a  dis- 
criminating audience,  and  met  a  favorable  reception*  It  seemed 
to  me,  however,  to  want  light  and  shade,  and  variety  in  the 
treatment  of  the  different  subjects  introduced.  Parts  of  it  were 
exceedingly  interesting,  considered  in  reference  to  modern  com- 
binations and  contrasts  of  the  different  orchestral  elements,  but 
there  was  a  too  constant  forte,  and  a  too  frequent  reiteration  of 
the  tonic  and  dominant  harmony,  with  brass  instruments,  in 
military  rhythm — this,  indeed,  is  a  general  resort  of  such 
composers  as  are  sometimes  at  a  loss  for  an  idea,  or  in 
a  similar  condition  with  the  public  speaker  who  is  obliged  to 
speak,  but  has  nothing  in  particular  to  say.  I  do  not  mean  that 
Mr.  Westmayer  was  minus  thought,  but  still  there  was  not 
such  a  flow  as  we  often  find  in  a  Mozart. 

The  Sinfonie  was  truly  good,  and  seemed  to  give  much  satis- 
faction— and  yet  I  could  not  help  thinking  that  it  was  an  excel- 
lent preparation  for  the  high  appreciation  of  the  next  orchestral 
piece,  which  was  no  less  an  overture  than  the  celebrated  No.  2, 
C  Major,  to  Leonore,  and  which  was  given  with  an  effect  far  be- 
yond what  can  be  often  heard. 

The  overture  by  C.  M.  Von  Weber,  to  Oberon,  was  also 


MARIE   WIECK.  29 

played  with  such  an  energy  and  brilliancy  as  to  take  .rfie's 
breath  away.  The  stillness  of  the  pianos,  the  gradual  and  im- 
mense range  of  the  crescendo*,  the  thundering  power  of  the 
fortes,  with  instantaneous  contrasts,  and  startling  sfortzandos, 
were  enough  to  work  up  the  feelings  to  a  perfect  phrenzy. 
Wonderfully  effective  were  these  ever  favorite  overtures  by 
Beethoven  and  Weber. 

It  was  no  small  attraction  of  this  concert  that  the  piano  forte 
was  played  by  the  Fraulein  Marie  Wieck,  the  sister  of  the  cele- 
brated Clara,  wife  of  Robert  Schumann.  Mdlle.  WTieck  is  a 
very  superior  player;  she  has  not  the  strong  hand  of  a 
DeMeyer  or  a  Listz,  but  she  has  a  most  finished  touch,  and 
plays  with  great  elegance  and  expression.  Her  first  piece  (hear 
it,  oh  ye  of  the  exclusive  modern  school,)  was  nothing  more  nor 
less  than  Dussek's  12th  Concerto  in  E  flat  major,  the  Adagio 
and  Allegro  movements  of  which  she  played — a  most  beautiful 
composition,  elegant  and  tasteful  in  the  highest  degree,  played 
both  by  the  principal  and  by  the  orchestra  as  near  perfection  as 
such  things  can  be  done.  There  is  nothing  in  the  music  to  as- 
tonish, or  to  excite  wonder  or  surprise,  but  there  is  that  in  it 
which  is  adapted  to  call  forth  perfect  delight.  It  is  full  of  peace, 
and  innocence,  and  purity,  and  joy,  and  it  is  from  beginning  to 
end  a  constant  appeal  to  the  perception  of  the  beautiful.  I  am 
no  enemy  to  the  modern  school ;  it  is  indispensable  to  an  ac- 
complished pianist,  and  every  well-educated  musician  will  de- 
light in  it;  but  they  err  who  suppose  that  in  Clcmaiti  and 
Cramer  and  Dussek  and  Pleyel,  there  is  nothing  good  or  worth 
being  saved.  The  fact  is,  the  pianists,  previous  to  him  who  is 
generally  regarded  as  the  head  of  the  great  modern  school,  had 
worked  out  a  very  satisfactory  solution  of  the  problem  of  piano 
forte  playing,  or  certainly  so  if  considered  with  reference  to  the 
more  natural  and  legitimate  powers  of  the  instrument.     Thai- 


30  NEW  AND   OLD  SCHOOL. 

berg,  Listz,  and  others,  have  certainly  much  enlarged  the 
boundaries,  or  the  available  capacities  of  the  piano,  but  some  of 
their  followers  have  gone  to  extremes ;  so  much  so  that  there 
iias  seemed  to  be  danger  of  losing  altogether  the  ordinary  effects 
of  piano  forte  playing,  or  that  they  would  he  swallowed  up  in 
the  extraordinary  feats  of  left-hand  melodies,  flights  of  octaves, 
and  the  various  methods  by  which  amazement  and  wonder  are 
excited.  Thanks  for  the  signs  of  returning  soberness  and  good 
sense ;  we  greatly  mistake  if  other  authors  like  Dussek  are  not 
yet  to  be  brought  back  to  the  concert  room,  and  to  the  parlor, 
to  fill  with  delight  the  spirit  of  the  true  lover  of  music,  and 
of  the  most  beautiful  of  all  keyed  instruments,  the  piano  forte. 

A  word  to  another  class.  There  are  some  who  condemn  al- 
together the  modern  school,  and  who  seem  to  suppose  that  all 
true  musical  genius  left  the  world  with  Haydn  and  those  of  his 
day.  Fraulein  Wieck  is  not  of  their  number,  for  while  she 
played  Dussek,  in  the  first  part  of  the  concert,  she  played  not 
Thalberg,  or  Listz,  or  DeMeyer  in  the  second  part,  but  Pagan- 
nini !  Yes,  the  Carnival  of  Venice,  arranged  for  the  piano,  and 
if  music  pleased  legitimately  in  Dussek,  the  Fraulein  excited 
no  small  degree  of  feeling  by  her  exquisite  touch,  and  facility  of 
execution  in  the  composition  of  the  Prince  of  violinists.  What 
if  it  be  mere  trickery ;  a  dexterous  artifice  will  always,  at  least, 
call  forth  admiration,  and  one  does  not  always  want  to  sit  in 
sober  judgment,  and  decide  on  the  grounds  of  intrinsic  musical 
merit — relaxation  must  be  indulged,  the  beautiful  give  way  to 
the  ornamental,  and  true  pleasure  to  mere  amusement.  If 
there  is  a  time  for  all  things,  surely  there  is  room  enough  for 
the  old  and  new  school  of  piano  forte  playing — yes,  and  for 
both  schools  of  organ  playing  too,  although  this  is  not  the  place 
to  dwell  upon  the  latter. 

There  was  still  another  interesting  feature  in  the  Euterpe 


GBWAXDHAUS.  31 

Concert — it  was  the  sinking  of  Mdlle.  Louise  Wolfl.  She 
sang  an  air  from  Stradella  by  Flotow,  and  also  two  German 
songs,  the  latter  by  Franz  Schubert.  A  pretty  singer,  but  not 
superior  to  several  American  vocalists. 

The  principal  point  of  interest  in  the  concerts  here,  to  an 
American,  seems  to  be  the  excellence  of  the  orchestral  perform- 
ance.    This  satisfies. 


LETTER    VI. 


Cewandhaus  Conccrt^Julius  Rietz— Hannah's  new  Symphony— Cherubini— Beethoven 
— Rossini— Mendelssohn. 

Leipzig,  January  30,  1S52. 

Perhaps  there  is  not  a  series  of  subscription  concerts  in  the 
world  of  a  deservedly  higher  reputation  than  that  of  the  Ge- 
wandhaus. Leipzig:  and  this  is  equally  true  both  in  relation  to 
the  character  of  the  music  selected,  and  the  manner  in  which  it 
is  performed.  The  circumstances  under  which  these  concerts 
are  produced  are  highly  favorable,  and  cannot  fail,  ordinarily, 
to  lead  to  the  most  happy  results.  The  room  is  neither  too 
large  nor  too  small,  though,  perhaps,  its  dimensions  might  be 
somewhat  extended  without  injury.  The  concerts  are  univer- 
sally popular;  the  lovers  of  music  are  always  there;  every- 
body who  loves  music,  and  can  procure  a  ticket,  is  engaged  on 
Thursday  evening,  and  the  many  professors  of  music  (including 
those  of  the  Conservatory),  the  musical  students,  and  the 
critics,  with  all  the  piano  forte  ladies,  and  all  other  m 
ladies,  are  there.  They  go,  too,  for  musical  purposes ;  not  so 
much  to  6ee  or  be  seen  as  to  listen  to  the  productions  of  the 


32  JULIUS   KIETZ. 

great  composers,  or  to  those  of  some  young  aspirant  for  musical 
fame,  who  is  so  fortunate  as  to  obtain  the  consent  of  the  gov 
eminent  to  the  performance  of  his  works.  Expectation  is 
awake,  and  good  music,  well  done,  is  looked  for  and  demanded 
by  the  large  and  intelligent  audience.  Indeed,  the  Gewandhaus 
Concert  is  a  kind  of  high  school,  where  taste  is  formed  in  the 
young,  and  perfected  in  the  old,  and  where  the  knowledge  of 
musical  science,  the  appreciation  and  love  of  musical  art,  and 
the  general  state  and  progress  of  both,  are  made  manifest. 

It  may  be  regarded  also  as  a  tribunal,  the  approval  of  which 
is  a  sure  passport  to  the  young  performer  ;  for  he  who  can  give 
satisfaction  here,  need  not  fear  to  appear  before  any  truly  en- 
lightened audience  in  the  world.  This  last  remark,  however,  it 
may  be  necessary  to  receive  with  some  restriction  applied  to 
the  students  of  the  "  Conservatorium  der  Musi~k"  to  whom 
there  is  sometimes  an  indulgence  extended  amounting  almost  to 
partiality  or  favoritism,  They  are  as  children,  and  what  parent 
can  see  the  faults  of  his  child  ?  The  members  of  the  orchestra 
may  all  be  regarded  as  solo  players  ;  every  instrument  is  well 
played,  and  every  performer  is  capable  of  executing  the  most 
difficult  passages  at  once,  so  that  a  single  rehearsal  only  is 
necessary,  even  for  a  new  complicated  symphony — and  that 
not  for  anything  belonging  to  the  technics  of  art,  but  only  for 
the  higher  points  of  taste  and  expression.  The  Conductor 
(Julius  Rietz)  is  a  thorough  musician  of  the  German  school,  a 
man  of  much  experience,  who  has  the  full  confidence  of  the 
members  of  the  orchestra  and  of  the  musical  community.  He 
is  well  acquainted  with  the  works  of  the  best  composers,  and 
knows  how  to  bring  them  out  in  the  careful  observance  of  all 
those  little  nice  points  of  delicacy  and  taste,  upon  which  the 
highest  and  best  effect  depends.  The  rehearsals  are  private  and 
exclusive ;  they  are  thorough,  but  not  tedious.     Indeed  it  is  but 


SYMPHONY   BY   HERMANN.  38 

necessary  to  name  the  point,  or  to  describe  with  accuracy  the 
efiect  desired,  when  the  finger,  the  bozo,  or  the  embouchure,  re- 
sponds immediately  to  the  conductor's  conception  of  the  pas- 
and  the  ideal  becomes  real. 

The  orchestra  being  well  prepared  at  the  rehearsal,  the  con- 
ductor's duty  becomes  a  very  simple  one  at  the  performance; 
hence  there  are  no  violent  gesticulations,  stampings,  bowings  or 
wings  of  the  head,  scraping  of  the  feet,  or  showing  off  of 
the  baton,  but  all  is  calm  and  quiet,  and  a  simple  indication  of 
the  time,  with  some  slight  occasional  variations  for  different 
forms  of  dynamic  effect,  is  all  that  is  necessary.  A  thorough 
knowledge  of  music  and  of  composition,  an  acquaintance  with 
the  capacity  of  every  instrument  and  its  proper  use  and  effect, 
a  perfect  control  of  time,  decision,  firmness,  entire  self-possess- 
ion and  control,  gentleness  of  manner,  affability,  courtesy — 
these  are  among  the  indispensable  requisites  in  a  conductor,  and 
these  our  Gewandhaus  conductor  seems  to  possess. 

Are  not  the  circumstances  then  (some  of  which  have  been 
mentioned)  so  favorable  as  to  justify  the  patrons  of  these  con- 
certs in  expecting  and  demanding  a  high  degree  of  perfection 
in  the  performances  .' 

The  concert  last  evening  was,  perhaps,  inferior  to  the  general 
average.  A  principal  point  of  attraction  is  always  found  in 
the  Symphony,  and  on  this  occasion  it  was  not  a  Mozart,  a 
Beethoven,  or  a  Mendelssohn,  but  an  original  manuscript  com- 
position of  a  member  of  the  Orchestra,  Ferd.  Hermann,  that 
was  performed.  Herr  Hermann  directed  his  own  Symphony. 
It  did  not  meet  with  a  very  warm  reception,  though  sufficiently 
so  to  afford  good  encouragement  to  the  author  and  his  friends. 
There  is  always  so  much  caution  and  incredulity,  and  some- 
times suspicion,  envy  and  jealousy  abroad,  that  the  path  to 
Time,  even  to  true  merit,  is  rough  and  beset  with  difficulties. 


34  SYMPHONY  BY  HERMANN. 

Our  author,  we  suppose,  could  not  complain  of  the  manner  in 
which  his  work  was  received,  and  probably  a  young  composer 
does  not  often  obtain  greater  approbation.  There  were  un- 
doubtedly fine  points  in  the  Symphony,  indicating  talent,  taste 
and  judgment.  Its  themes  were  concise  and  clear,  and  there 
seemed  to  be  a  considerable  degree  of  the  effusion  of  genuine 
feeling,  without  dry  detail,  commonplace  thoughts,  or  tedious 
repetitions.  The  instrumentation  was  quite  well  balanced, 
though  the  Oboe  was,  perhaps,  somewhat  too  prominent  in  the 
melodic  passages ;  a  greater  variety  of  coloring  in  this  respect 
might  be  an  improvement.  The  thoughts  were  easy,  natural 
and  chaste,  but  yet  never  so  striking  as  to  call  forth  a  raptur 
ous  or  involuntary  exclamation  of  delight  or  applause.  The 
interest  too  was  well  sustained  through  the  four  movements, 
and  although  we  suppose  that  the  critics  will  not  allow  to  this 
Symphony  a  higher  place  than  mediocrity,  yet  the  young  author 
may  be  well  contented  with  the  award  bestowed,  return  to  his 
study,  and  try  again. 

Signor  Stigelli,  a  Tenor,  from  the  Royal  Italian  Opera,  Lon- 
don, sang  with  approbation  ;  Carl  Deichmann,  a  Violinist,  from 
Hanover,  played  with  entire  success,  a  Concerto,  by  Vieux 
Temps ;  an  aria  by  Julius  Rietz,  (Conductor,)  was  charm- 
ingly sung  by  Miss  Mayer,  coming  seemingly  fresh  from  the 
heart,  on  the  tones  of  a  sweet  voice. 

The  omission  to  send  the  above  by  the  last  week's  mail, 
enables  me  to  add  a  word  in  relation  to  the  concert  of  last 
evening,  the  sixteenth  of  the  season.  Owing  to  the  fact  (I  sup- 
pose) that  there  were  several  distinguished  solo  singers  here, 
the  first  part  of  the  concert  consisted  more  of  vocal  music  than 
usual.  A  chorus  of  men's  voices  was  also  introduced,  and 
large  extracts  were  given   from  Cherubini's   opera  of   "  Ali 


MOSCHELES.  35 

Baba,"  and  from  Rossini's  i;  Wilhelm  Tell,"  also  an  aria  from 
Don  Juan  by  Mozart.  Two  overtures  were  admirably  played, 
Leonore  No.  2,  Beethoven,  and  William  Tell,  Rossini 
The  fine  chorus  of  men's  voices  added  much  to  the  interest  of 
the  concert,  but  the  principal  piece  was  the  charming  A  minor 
Symphony  No.  3,  by  Mendelssohn.  I  have  often  heard  this 
magnificent  production  of  M endelssohn  performed  at  home,  but 
it  is  no  discredit  to  our  orchestras  to  say  that  it  is  quite  a  dif- 
ferent thing  when  given  with  the  precision  of  the  Gewandhaus 
orchestra.  I  will  attempt  no  description  ;  suffice  it  to  say  that 
it  was  the  perfection  of  orchestral  music — so  soft  and  so  loud, 
so  melancholy  and  so  joyful,  so  exciting  and  so  soothing,  so  ex- 
pressive and  so  effective — imagine  it,  ye  who  have  no  oppor- 
tunity of  hearing  it. 


LETTER  VII 


Sketch  of  Moscheles,  the  celebrated  Pianist. 

Leipzig,  February  16,  1852. 

This  veteran  of  the  piano  forte,  who  has  established  for  himself 
so  high  a  reputation,  and  who  was  for  many  years  the  prince  of 
the  piano  in  London,  has  resided  for  the  last  six  years  in  Leip- 
zig as  professor  in  the  *;  Conservatorium  der  Musik ;"  in  this 
institution  he  occupies  the  place  for  which  he  is  so  eminently 
qualified,  and  is  the  principal  teacher  of  his  favorite  instrument. 
Mendelssohn  was  his  particular  friend,  and  it  was  at  the  great 
composer's  urgent  solicitation  that  ^Joscheles  gave  up  his  lucra- 
tive situation  in  London,  and  came  to  Leipzig,  to  devote  the 
remainder  of  his  life,  in  connection  with  his  young  friend,  to  the 


36  KALKBRENNER,    RIES. 

cause  of  musical  education,  and  the  building  up  of  a  high  school 
for  music  here.  Mendelssohn  was  young,  but  Moscheles  was 
already  past  the  meridian  of  life.  Little  did  he  expect  to  sur- 
vive his  talented  friend ;  but  while  the  elder  of  the  two  still 
lives,  the  highly-gifted  Mendelssohn  was  taken  away  while  yet 
in  early  life.  While  the  musical  world  most  deeply  mourns 
his  loss,  every  mouth  is  filled  with  his  praise,  and  his  name 
seems  destined  to  live  with  those  of  Bach,  Handel,  Mozart  and 
Beethoven. 

We  well  remember  when,  some  thirty  years  since,  Moscheles, 
Kalkbrenner,  and  Eies,  formed  the  great  trio  of  piano  forte 
composers,  performers,  and  teachers.  Cramer  still  lived,  though 
he  had  mostly  retired  from  public  life.  No  man  had  ever  stood 
higher  as  a  pianist  than  Cramer ;  no  one  has  since  stood  higher, 
and  probably  no  one  ever  will.  His  works  are  among  the 
musical  classics,  and  must  be  studied  by  every  one  who  would 
excel.  But  this  trio  of  writers  who  immediately  succeeded 
Cramer,  seemed  to  enlarge  the  compass  of  the  instrument,  and 
to  cause  it  to  speak,  if  not  with  a  more  chaste,  beautiful,  or 
better  language,  yet  with  a  more  extensive  vocabulary.  Ries 
and  Kalkbrenner  too,  after  having  obtained  a  high  reputation, 
passed  away — they  are  not — and  Moscheles  seems  now  almost 
the  only  remaining  link  of  connection  between  the  old  and  new 
schools.  He  is  the  enlightened  and  warm  advocate  of  improve- 
ment, and  he  has  done  much  not  only  for  the  piano,  but  for 
music  generally  ;  but  he  goes  not  with  those  who,  by  new  sys- 
tems of  notation,  or  by  any  mechanical  training  of  the  hand, 
rather  impede  than  accelerate  the  progress  of  science  or  art. 
The  Hand-Guide  of  Kalkbrenner  he  never  approved.  He  well 
knows  that  all  dexterity  of  finger  must  be  achieved  according 
to  the  natural  laws  of  exercise ;  industry  and  perseverance  in 
the  proper  use  and  training  of  the  muscles  can  only  insure  success. 


XEUKOMM.  37 

Ho  knows  of  no  short,  patent,  or  royal  road  to  musical  excel- 
lence ;  but  insists  upon  the  same  drilling  or  training  now  that 
he  did  when  he  commenced  his  professional  career  in  London. 

Moscheles  stands  very  high  not  only  as  a  teacher  and  com 
.  but  also  as  a  performer.  I  well  remember  being  at  a 
select  music  party  at  his  house  in  London  in  '37.  Several  dis- 
tinguished pianists  were  there,  one  of  whom  now  fills  the  world 
with  his  praise,  and  has  been  called  the  king  of  the  piano  forte 
— himself  once  Moscheles's  pupil.  The  Chevalier  Neukomm 
was  there,  and  in  the  course  of  the  evening,  being  in  conversa- 
tion with  that  distinguished  man,  I  asked  him  the  question, 
'•  AY  ho  is  the  greatest  living  pianist?"  "  I  think  he  is,"  replied 
the  Chevalier,  pointing  to  Moscheles. 

M.  Moscheles  retains  his  powers,  and  is  still  fresh  and  young. 
He  is  always  busy,  as  he  is  full  of  teaching,  and  has  much  to  do 
in  connection  with  the  conservatory  ;  yet  he  finds  time  to  enter- 
tain a  stranger,  and  to  amuse  and  instruct  one  by  many  musical 
anecdotes  and  reminiscences.  He  knows  with  familiarity,  the 
history  of  music  and  of  musical  composers,  vocalists  and  instru- 
mentalists, for  well  nigh  half  a  century.  J  lis  position  in  London 
as  teacher,  composer,  and  conductor,  brought  him  into  con- 
nection with  many  of  the  first  musical  men,  and  he  profited  well 
by  his  experience.  He  was  the  friend,  and  is,  as  is  well  known, 
the  biographer  of  Beethoven ;  and  he  has  many  relics  of  the 
great  symphonist,  which  he  shows  with  pleasure  to  those  per- 
sons who  are  interested  in  such  things.  Among  the  manuscripts 
which  I  saw.  was  the  first  sketch  of  the  great  Mass  in  D,  (Beetho- 
Second  Mass,)  the  leading  thoughts  merely  being  written 
down  in  a  character  not  easy  to  decypher,  and  which  would  be 
as  unintelligible  to  many  a  one  who  thinks  he  understands 
music,  as  the  hieroglyphics  on  an  ancient  Egyptian  monument. 
This  sketch  is  contained  in  a  sketch-book,  in  which  first  thoughts 


38  BEETHOVEN'S  SKETCH  BOOK. 

of  several  of  Beethoven's  compositions  appear.  Such  a  sketch- 
book he  is  said  always  to  have  carried  with  him,  in  which  he 
made  a  hasty  record  of  passing  thoughts.  From  these  he 
selected,  in  study  hours,  the  most  worthy,  and  elaborated  them 
in  such  form  and  connection  as  his  excellent  taste  and  good 
judgment,  dictated.  The  sketch-book,  as  Mr.  Moscheles  told 
me,  clearly  proves  that  Beethoven  did  not  always  rely  upon  first 
thoughts,  but  that  he  frequently  modified  them  according  to  the 
dictates  of  a  careful  judgment.  This  is  probably  true  of  all  the 
great  writers.  It  was  so  with  Mendelssohn,  whose  after  thoughts 
were  often  preferred  and  adopted,  even  although  the  composi- 
tion containing  them  was  already  published.  Hence  the  disa- 
greement that  sometimes  appears  between  the  English  and 
German  copies  of  the  works  of  Mendelssohn ;  for  after  a  work 
was  published  in  one  country  he  would  sometimes  alter  and 
improve  upon  it,  before  it  was  allowed  to  appear  in  the  other. 
The  sketch  book  of  Beethoven  contains  first  thoughts  of  other 
compositions,  and  especially  of  variations  upon  a  waltz  of  Dia- 
belli,  in  respect  to  which  Moscheles  related  to  me  the  following 
circumstances.  Diabelli,  who  was  a  publisher  of  music  in 
Vienna,  a  friend  and  companion  of  Beethoven,  and  also  a  good 
musician,  composed  a  waltz  with  which  he,  the  composer,  was 
much  pleased,  and  which,  though  of  a  popular  and  taking  char- 
acter, was  truly  chaste  and  elegant.  The  idea  occurred  to  him 
of  getting  from  distinguished  composers  to  the  number  of  fifty, 
variations,  and  then  to  publish  his  waltz  in  connection  with 
them.  Accordingly  he  wrote  letters  to  eminent  musicians, 
sending  his  waltz,  mentioning  his  plan,  and  asking  from  each  a 
variation.  Moscheles  was  himself  one  of  the  number  to  whom 
application  was  made.  Diabelli  called  on  Beethoven,  and  made 
known  his  wishes  to  him.  Beethoven,  amused  with  the  novelty 
of  the  project,  promised  to  do  his  part.     After  some  months, 


•  MENDELSSOHN'S   LETTERS.  39 

and  when  returns  had  been  received  from  many  to  whom  appli 
cation  had  been  made,  Diabelli  called  on  Beethoven  for  his 
contribution.  It  was  not  ready  ;  indeed  it  had  been  forgotten, 
but  Beethoven  promised  it  in  a  week.  A  week  passed  away 
and  a  second  eall  was  made,  and  a  second  disappointment  ex- 
perienced, the  variation  had  not  been  written  ;  he  was  promised 
however  that  without  fail  it  should  be  ready  on  a  certain  day. 
On  the  day  appointed  Diabelli  called  for  the  third  time,  when 
Beethoven  coming  into  the  room  with  his  paper  said,  u  Ah,  my 
dear  Diabelli,  you  asked  me  for  one  variation,  but  here  are 
thirty-three,"  and  he  actually  presented  him  with  thirty-three 
variations  instead  of  one.  They  were  immediately  published, 
extensively  circulated,  and  much  admired.  (See  Beethoven's 
120th  work.)  The  other  fifty  variations  were  also  published, 
but  those  by  Beethoven  obtained  the  decided  preference. 

Moscheles  has  original  manuscripts  of  many  of  the  great 
musical  composers ;  but  nothing  that  he  can  produce  will  be 
looked  upon  with  more  interest  than  his  letters  from  Men- 
delssohn. These  he  has  very  carefully  bound  together  so  as  to 
preserve  them  in  safety  ;  they  are  between  seventy  and  eighty 
in  number,  and  are  on  various  musical,  literary,  and  artistic 
subjects.  They  are  beautifully  written,  sometimes  embellished 
with  illustrative  drawings  with  the  pen,  and  are  full  of  humor, 
wit.  and  good  feeling.  One  of  them,  for  example,  after  the 
words  "  Dear  Moscheles,"  begins  with  an  intrada,  or  trumpet 
salutation.  It  is  carefully  written,  on  a  staff  made  with  the  pen 
at  the  moment,  without  a  rule,  in  small  notes,  and  a  more 
joyful  or  heartfelt  greeting  cannot  be  conceived.  Another,  a 
congratulation  on  the  birth  of  Moscheles' s  son  Felix,  (now  pur- 
suing his  studies  in  Paris  as  an  artist.)  commences  with  various 
orchestral  instruments  hastily  sketched  with  a  pen,  with  a  host 
of  violins  descending  as  angels  of  music  from  heaven ;  a  most 


40  MOSCHELES"    WORKS. 

beautiful  design  indeed,  which  Mendelssohn  proceeds  to  explain, 
when  leaving  his  musical  symbols,  he  has  recourse  to  letters 
and  words.  Moscheles  Piano  Forte  Pastoral  Concerto  (op  96 
in  D)  was  composed  for  Mendelssohn  and  dedicated  to  him. 
In  Mendelssohn's  letter  written  in  acknowledgment  of  the  re- 
ceipt of  the  Concerto,  and  which  is  highly  complimentary  to 
the  author,  he  has  drawn  a  landscape  representing  pastoral  life, 
with  mountains  and  valleys,  flocks,  herds,  houses,  &c,  including 
a  village  church  with  its  joyfully  ringing  bell,  as  illustrative  of 
the  ideas  suggested  to  his  mind  as  he  played  over  the  music  of 
his  friend.  The  letters  are  here,  too,  in  which  Mendelssohn  first 
opens  his  mind  on  the  subject  of  the  conservatory,  and  in  which 
he  urges  Moscheles  to  come  to  Leipzig  and  join  him  in  carrying 
out  his  favorite  project. 

During  a  visit  to  Moscheles,  when  I  gathered  the  materials 
for  this  communication,  as  well  as  many  other  pieces  of  inter 
esting  information  which  I  cannot  now  mention,  he  was  so  kind 
as  to  play  to  me  for  half  an  hour  or  more,  various  piano  forte 
studies  and  other  music,  illustrative  of  the  powers  and  progress 
of  the  instrument. 

Moscheles's  own  works  for  the  piano  are  much  used ;  his 
printed  studies  are  as  follows — 24  Studies  for  piano  forte,  op. 
70 ;  12  Characteristic  Studies,  op.  95 ;  2  Studies  originally 
published  in  Beethoven's  album,  op.  105;  2  Grand  Studies, 
being  part  of  a  complete  method  by  Moscheles  and  Fetzs  ;  4 
Grand  Concert  Studies,  op.  Ill  ;  Daily  Companion,  or  practical 
and  progressive  exercises  for  two  performers,  op.  107. 

He  has  recently  published  (by  Kistner,  Leipzig,)  a  grand 
Sonata  (op.  121  in  E)  for  Piano  Forte  and  Violincello.  The 
Concertmeister  David,  (the  well  known  Violinist,)  has  adapted 
the  Violincello  part  for  the  Violin,  as  he  has  also  done  with 
Mendelssohn's  Sonatas.      Moscheles,  although  a  very  popular 


HENRIETTE  SONTAG.  41 

performer,  has  retired  from  all  public  playing ;  yet  he  is  not 
slow  to  encourage  young  aspirants  for  fame.  His  influence  is 
on  the  side  of  truly  scientific  music,  like  that  of  Beethoven  and 
Mendelssohn,  nor  will  he  do  anything  to  patronize  a  more 
superficial  style  or  flippant  taste,  cither  in  composition  or  in 
playing.  As  a  teacher,  it  is  as  well  his  object  to  form  the  taste 
as  the  hand.  Would  that  his  example  in  this  respect  were  fol- 
lowed by  all  teachers,  and  that  our  young  pianists  would  prac- 
tice with  diligence  and  perseverance  his  studies,  and  other 
similar  works,  rather  than  spend  their  energies  upon  the  many 
mountebank  trickeries  of  some  modern  writers. 


LETTER    VIII 


Seventeenth  Gewandhaus  Concert— Ferdinand  David— Cluck's  "  Iphegenie  in  Tauride" 
—Madame  Sontag— Central  Hall  Concert. 

I.i:ii'zio,  February  21,  1£.V2. 

This  Concert  was  particularly  attractive  to  the  musical  peo- 
ple of  Leipzig,  from  the  fact  that  the  singer  was  Mad.  Sontag. 
by  marriage  the  Countess  Rossi.  The  weather  was  unfavora- 
ble, being  rainy,  and  the  streets  were  muddy.  I  took  my  place 
at  the  door  of  the  Gewandhaus  at  half-past  four,  where  the 
people  were  then  gathering.  By  five,  when  the  outer  door 
was  opened,  a  multitude  had  assembled,  and  immediately 
rushed  into  the  house,  filling  the  long  stairway  and  entry. 
Here  was  another  interval  of  waiting,  until  half-past  five, 
when  the  door  of  the  hall  was  opened,  and  the  room  was 
immediately  filled.  We  had  now  to  wait  another  hour,  or 
until  half-past  six  ;  when  the  performance  commenced  with 
a    symphonic,   by  Joseph   I  lady  n    in   C,   very  light,    playful, 


42  *  '  FERDINAND  DAVID. 

and  pleasing,  but  lacking  the  depth  of  a  Beethoven  or  a 
Mendelssohn.  It  is  so  easy  a  composition,  that  it  seemed 
to  be  quite  children's  play  for  the  orchestra,  who  yet  ren- 
dered it  in  the  most  perfect  manner  possible.  This  was 
followed  by  an  Arie  from  " Rinaldo"  by  Handel;  a  most 
charming  song  indeed,  and  as  charmingly  sung  by  Mad.  Sontag. 
Of  Mad.  Sontag's  singing,  I  dare  not  speak  now.  I  will  only 
say  that  no  one  can  have  a  more  perfect  execution  ;  but  to  say  in 
what  her  excellence  consists,  as  a  singer,  or  what  are  the  pecu- 
liarities of  her  style,  must  not  now  be  attempted. 

The  third  piece  was  "  Romanze  for  the  Violin"  by  Bee- 
thoven ;  performed  by  Herr  Concertmeister,  Ferdinand  David. 
This  is  the  David  whose  compositions  for  the  violin  are  so  well 
known,  and  whose  reputation  as  a  player  is  so  extensive.  Mad. 
Sontag  then  sang  "Bel  raggio  lusinghier"  from  Rossini's 
Semiramide,  a  song  requiring  the  greatest  powers  of  vocaliza- 
tion ;  this  was  perfectly  given  by  the  inimitable  artist. 

The  second  part  consisted  of  the  Overture  and  a  long  scene 
from  Gluck's  famous  "  Iphigenie  in  Tauride ;"  the  principal 
vocal  part  being  that  of  Iphigenie  by  Mad.  Sontag.  Gluck 
has  not  been  heard  with  us,  but  he  ranks  in  the  very  first  class 
of  composers  here.  The  overture  is  a  magnificent  concert 
piece,  and  it  was  performed  by  this  fine  orchestra  with  wonder- 
ful precision  and  effect.  Beethoven's  Overture  to  Egmont  closed 
the  musical  entertainments  of  the  evening,  and  well  repaid  one 
for  his  Two  Thalers,  (cost  of  a  ticket,)  and  for  all  the  previous 
waiting,  wetting,  and  crowding  necessary  to  secure  a  place  to 
stand  up. 

Mad.  Sontag  is  gone,  and  the  Gewandhaus  Orchestra  is 
thrown  upon  its  own  strength  and  resources ;  but  it  fails  not, 
neither  is  it  faint  or  weary.      The   Eighteenth  Concert  was 


CHEAP  CONCERTS.  43 

(save  the  charming  singer)  one  of  the  very  best  of  the  season. 
The  Orchestra  (said  one  who  has  often  heard)  never  played 
better;  well  might  they  feel  the  inspiration  of  their  author,  for 
tluv  played  BeethoveiCs  4th  Symphonic,  than  which  he  has  not 
written  a  better.  It  is  not  so  well  known  in  America,  but  it 
cannot  rank  second  to  anything  which  Beethoven  has  composed. 

The  adagio  (sextuple  movement)  is  as  perfect  in  design  and 
as  beautiful  in  coloring  as  in  any  work  of  musical  art.  Frau- 
lein  Anna  Klassig  sang  a  Recitative  and  Arte  from  Sphor's  Jes- 
sonda.  Herr  G.  Kriiger,  from  Stuttgart,  played  two  pieces 
well  on  the  Harp ;  and  a  well-trained  choir,  Pauliner  Sangcr- 
Vereins,  of  fifty  men's  voices  sung  three  pieces,  two  of  which 
were  by  Mendelssohn,  and  one  of  which  may  be  found  in  the 
"  Fireside  Harmony  "  (  Waserfahrt.)  Mendelssohn's  Overture 
" Melusine,"  as  fine  an  Overture  as  exists,  was  played ;  and  the 
performance  was  worthy  of  the  composition. 

These  Concerts  are  very  popular  and  fashionable.  The 
Musical  Professors  are  all  there,  expectation  is  fully  awake,  and 
I  believe  almost  always  fully  gratified. 

Mad.  Sontag  has  left  Leipzig  for  Dresden,  where  she  will 
undoubtedly  create  as  great  a  sensation  as  she  has  here.  I 
hope  to  notice  her  more  particularly  hereafter. 

The  next  evening  (20th  February),  I  attended  one  of  tho 
cheap,  eating,  drinking,  smoking,  talking,  sitting -round-the-table, 
wearing-hat,  &c,  &c,  &c,  Concerts.  The  Orchestra  numbered 
about  thirty  performers.  It  was  really  a  fine  Orchestra,  though 
it  appeared  feeble  in  strings,  (having  only  four  violins  on  a 
part.)  after  listening  to  the  Gewandhaus  band.  Beethoven's 
Sym.  No.  7,  was  played,  and  also  Weber's  Overture  to  Oberon 
—•with  other  music,  including  a  very  excellent  new  overture 
(manuscript)  by  W.  Herfuth.     The  contrast  wras  really  a  very 


44  COMPARISON   OF  SIXGERS. 

excellent  one,  but  it  suffered  in  comparison  -with  that  of  the 
preceding  evening  ;  and  the  room  was  too  much  filled  with  to- 
bacco smoke  and  noise  for  comfort. 


LETTER    IX. 

Mad.  Sontag— the  two  Styles  of  Singing  Compared— Mara— Catalani— Wagner—  Lind— 

Sontag. 

Leipzig,  February  28, 1852. 

How  shall  we  speak  of  this  vocalist,  or  to  whom  shall  we 
compare  her  ?  The  power  of  language  has  been  exhausted  on 
inferior  or  commonplace  artists.  Excellent,  beautiful,  charm- 
ing, delightful,  and  other  like  adjectives  fail ;  and  words  cannot 
give  an  idea  of  Sontag,  because  by  their  common  use  they  have 
lost  their  significance,  and  because  it  is  really  quite  impossible 
for  any  one  to  imagine  what  her  singing  is  who  has  not  heard 
her,  or  some  one  of  the  very  few  real  artists  who  take  rank 
with  her.  Those,  however,  who  have  heard  Jenny  Lind  (and 
she  is,  perhaps,  the  only  person  living  to  whom  Sontag  can  be 
likened),  will  be  prepared  to  understand  what  may  be  truly 
said  of  Sontag,  and  to  appreciate  and  enjoy  her  singing.  Both 
these  artists  belong  to  the  same  general  school,  and  both  excel 
in  the  same  department ;  but  yet  they  are  not  alike,  not  even 
when  they  represent  the  same  character,  or  sing  the  same  song. 

Singing  (so  also  music  generally,  and  other  fine  arts),  may 
be  divided  into  two  general  classes,  or  styles,  corresponding  to 
the  sublime  and  the  beautiful  in  nature.  These  have  been  some- 
times designated  by  the  terms  great  and  small;  or,  with  quali- 
fications and  exceptions,  serious  and  humorous  ;  or,  when  carried 


COMPARISON   OF  SINGERS.  45 

to  extremes,  tragic  and  comic  ;  and  singers  as  well  as  actors 
usually  excel  in  the  one  style  or  in  the  other.  There  may  be 
now  and  then  one  who  does  well  in  both,  (Garrick  for  exam- 
ple ;)  but  true  excellence  in  both  departments  is  not  to  be 
looked  for  in  the  same  person. 

It  is  the  office  of  the  great  style  to  move  the  deeper  feelings 
of  the  soul,  or  to  call  forth  the  most  powerful  emotions  be- 
longing to  humanity  ;  and  this  it  does  sometimes  by  strains  the 
most  simple,  or  even  by  a  single  tone ;  while  at  others,  a 
similar  effect  may  be  produced  by  an  immense  volume  of  voice, 
or  by  great  executive  power.  The  style  which  has  been  called 
small ,  (only,  however,  in  a  good  sense  of  the  term,)  excites  the 
gentler  feelings,  brings  up  to  the  imagination  figures  of  beauty 
and  loveliness,  and  fills  the  soul  with  pure  delight. 

The  natural  qualifications  indispensable  to  any  high  degree 
of  excellence  in  either  department  are  very  rarely  found ; 
hence  there  are  but  few  good  singers  in  the  same  age,  or  exist- 
ing on  the  stage  at  the  same  time.  But  yet  we  are  confined 
mostly  to  the  present  generation  for  illustration  of  our  subject, 
since  the  singer's  art,  as  it  admits  not  of  record,  cannot  be 
handed  down  to  posterity,  but  perishes  with  him.  But  few  can 
form  any  adequate  idea  of  the  great  vocalists  who  have  hereto- 
fore lived ;  we  can  but  with  great  difficulty  carry  the  remem- 
brance of  excellence  in  the  singer's  art  for  any  considerable 
time,  and  we  are  very  apt  to  think  the  last  the  best.  It  is  safe 
to  assume,  however,  that  Mara,  for  example,  excelled  in  the 
great  style ;  for  history  tells  us  that  she  gave  a  character  to  the 
sublime  songs  of  Handel  and  other  old  masters,  that  no  one 
since  her  time  has  been  able  to  do.  But  how  shall  we  get  an 
idea  of  what  Mara's  rendering  of  "I  know  that  my  Redeemer 
liveth,"  really  was]  We  cannot  Or  rather,  every  one  will 
form  an  idea  in  accordance  to  the  materials  he  has  accunui- 


46  MARA  AND  CATALANI. 

lated,  or  to  what  he  has  heard  of  the  power  of  song.  Every 
one  says  the  song  which  we  have  mentioned  is  great ;  but  every 
young  lady  who  has  spent  a  few  years  in  vocal  music,  thinks 
that  she  can  sing  it,  for  she  has  taken  it  month  after  month  for 
a  lesson,  has  sung  it  to  her  teacher  for  years,  and  he  has  often 
told  her  that  she  sings  it  well,  and  this  has  been  fully  confirmed 
by  her  parents  and  friends ;  and  still  she  may  not  have  any 
adequate  perception  of  the  song — of  its  immensity,  or  deep 
spirituality,  or  of  the  extensive  natural  powers  both  mental  and 
physical,  thoroughly  developed,  necessary  for  any  just  render- 
ing of  the  mighty  conception  of  Handel  and  Job* 

Catalani  was  also  great,  or  belonged  to  the  great  school,  if 
we  may  credit  the  reports  of  those  still  living  who  were  famil- 
iar with  her  manner ;  and  she  is  said  to  have  produced  the 
most  sublime  effects  with  a  very  simple  melody.  A  gentleman 
who  heard  her,  told  me,  that  she  would  sing  the  national  an- 
them, "  God  save  the  King"  calling  forth  the  deepest  reverence 
and  awe,  hushing  to  perfect  silence  a  mixed  multitude  who  had 
assembled  to  hear  her,  and  filling  the  minds  of  all  with  an  over- 
whelming idea  of  greatness  and  immensity.  But  although 
Mara  and  Catalani,  both  belonged  to  the  great  school,  it  does 
not,  therefore,  follow  that  they  were  alike.  Perhaps  it  may  be 
safe  to  say  that  it  belonged  to  Mara  to  speak,  in  deep-felt  yet 
simple  tones,  to  the  heart ;  and  to  Catalani  by  her  immense 
power  of  voice,  to  excite  feelings  of  awe  and  reverence,  or  by 

*  We  hope  we  shall  not  be  understood  to  discourage  our  young  vocal- 
ists from  the  study  of  this  or  other  similar  songs.  Handel  must  be  sung ; 
the  Messiah  must  be  sung ;  and  wherever  the  Messiah  is  sung,  "  I  know 
that  my  Redeemer  liveth,"  must  be  sung  also.  We  have  heard  it  done 
creditably  by  young  American  singers.  We  would  recommend  the  study 
of  this,  and  of  other  songs  of  Handel,  to  every  one  whose  musical  aim  is 
high. 


JENNY   LIND.  47 

the  overcoming  of  extreme  difficulties  of  execution,  to  awaken 
those  of  wonder  and  astonishment.  Of  living  artists  Grisi 
may  be  classed  with  those  who  can  sing  in  the  great  style ; 
though  she  belongs  rather  to  that  department  which  may  be 
called  tragic.  Viardot  Garcia  also  moves  in  the  same  lofty 
sphere,  and  is  probably  the  first  singer  in  the  world,  in  this 
style  ;  and  to  the  same  class,  too,  belongs  the  Frdulein  Wagner 
of  Berlin. 

We  do  not  know  whether  we  have  succeeded  in  conveying  to 
the  minds  of  our  readers  an  idea  of  what  we  mean  by  the 
great  style  in  singing ;  but  we  feel  quite  certain  that  we  can 
make  ourselves  understood  when  we  speak  of  the  beautiful ; 
(small,  technically ;)  for  here  we  can  illustrate  our  meaning  by 
reference  to  one  who  has  been  extensively  heard,  and  wherever 
heard  admired,  in  America.  To  this  style  belongs  Jenny  Lind ; 
and  to  this  style  also  belongs  the  no  less  perfect  artist,  the 
Countess  Rossi-Sontag.  But  while  we  assign  to  the  same  gen- 
eral class  both  of  these  inimitable  artists,  they  are,  as  has  al- 
ready been  said,  unlike.  We  can  only  mention  a  few  of  the 
points  of  difference.  Jenny  Lind  has  a  voice  of  higher  com- 
pass ;  she  has  also  more  strength  of  lungs  or  command  of 
breath,  and  can,  therefore,  prolong  a  tone  to  greater  length,  and 
sing  with  a  greater  degree  of  power  than  Sontag.  On  the 
other  hand,  Sontag  has  a  richer  low  voice,  and  throughout  its 
whole  compass  greater  purity  of  tone.  With  respect  to  this 
point,  Sontag's  voice  is  perfect.  And  not  only  in  their  natural, 
but  also  in  their  acquired  powers,  do  they  differ ;  and  the 
musicians,  some  of  them  say,  that  Sontag  has  the  more  perfect 
school.  But  we  prefer  not  to  express  our  opinion  on  this  point, 
nor  will  we  venture  to  say  which  has  the  greater  execution ; 
they  are,  in  this  respect,  both  stars  of  the  first  magnitude ;  and 
either  of  them  is   sufficiently  bright  to  dazzle  the  eyes  of  a 


48  SONTAG  AND  LIND. 

common  beholder.  When  listening  to  Jenny  Lind,  we  have 
thought  that  vocal  execution  could  be  carried  no  farther ;  and 
when  listening  to  Sontag,  we  have  felt  quite  sure  that  her's  was 
the  perfection  of  excellence,  and  have  been  disposed  to  class 
ourselves  with  those  who  think  the  last  the  best.  One  of  the 
German  critics  has  said  that  Sontag  "has  attained  the  very 
height  of  the  science  of  song ;"  that  "  both  in  the  technical  and 
spiritual,  she  stands  in  a  place  which  has  not  before  been 
reached  by  any  mortal,  and  that  her  performances  may  there- 
fore with  propriety  be  called  supernatural."  The  same  writer 
compares  her  to  Jenny  Lind,  and  says  that  "  no  one  else  living 
can  claim  so  perfect  a  command  over  the  vocal  organs  as  these 
two  artists." 

Their  favorite  characters  are  the  same ;  and  the  very  parts  in 
which  Jenny  Lind  excelled,  and  out-rivaled  every  one  else,  are 
the  same  which  Sontag  represents  better  than  they  have  ever 
been  represented  before.  To  her  pre-eminent  histrionic  talent 
Sontag  undoubtedly  owes  much  of  her  great  success  ;  her  acting 
is  certainly  not  inferior  to  her  singing.  But  this  is  said  also  of 
Jenny  Lind,  and  by  highly  intelligent  critics,  who  have  seen 
them  both  in  the  same  character.  In  the  part  of  Marie,  (Fille 
du  Regiment,)  which  was  written,  as  we  have  been  informed, 
originally  for  Sontag,  Jenny  Lind  is  said  to  have  been  success- 
ful in  the  highest  degree  in  her  acting,  and  to  have  united  in  a 
most  remarkable  and  unprecedented  manner  the  very  simplicity 
)f  nature  with  her  wonderful  musical  powers,  pouring  out  the 
fulness  of  her  soul  in  connection  with  the  perfection  of  art  in 
?ong.  And  following  Sontag,  as  she  did,  she  was  thought  by 
some  even  to  surpass  her ;  but  now  that  Sontag  has  come  up 
again  after  a  retirement  from  public  life  of  twenty  years  or 
more,  and  after  having  become  the  mother  of  many  children, 
we  see  her  rising  to  a  point  of  perfection  in  Marie  which  it 


SOXTAC    AND   LIXD.  49 

would  Beem  has  never  before  been  attained.     We  sec  in  her 
the-  bold  soldier  girl,  (though  always  modest,  lovely,  and 

rown  up  with  the  regiment,  and  having  deeply 
imbibed  the  military  spirit,  carrying  with  her  the  fruits  of  her 
education,  the  love  of  the  parade,  the  march,  the  trumpet,  and 
the  drum,  into  the  drawing-room,  and  manifesting  her  courage 
m  strains  of  song  the  must  artistic  possible  to  be  imagined: 
giving  the  boldest  and  most  difficult  passages,  apparently  with 
the  greatest  ease  and  freedom.  Now,  whether  Sontag's  or 
Lind's  Marie  is  the  better,  either  with  respect  to  acting 
or  singing,  who  shall  determine?  A  similar  comparison  might 
ide  of  these  two  Queens  of  song,  in  other  favorite  charac- 
in  which  each  in  her  turn  surpasses  the  other ;  but  we  will 
attempt  to  carry  it  no  further.  Mad,  Sontag  is  said  to  have 
resumed  her  profession  in  consequence  of  the  loss  of  property, 
and  of  having  a  family  of  children  to  support  and  educate.  It 
is  remarkable  that,  after  a  retirement  from  public  singing  for 
so  long  a  time,  she  >h<u.  in  her  full  vocal  powers 

■win,  I  .  ntleman  who  stands  as 

hi«_rh  as  any  one  in  the  musical  profession  here,  and  who  heard 
'  en  during  her  former  triumphs,  assures  me  that  so  far 
from  having  lost,  she  has  really  gained,  in  purity  of  tone  and  in 
art;  though  her  voice  has  undergone  some  change  with  respect 
to  compass  or  pitch,  having,  as  he  observed,  lost  "two  or  three 
higher  toi  .hied  three  or  four  lower  ones." 

\  is  now  traveling  through  Germany,  with  the  most  bril- 
■ecently  produced  much  excitement  in 
not  fail  to  do  whei 
'  wing,  notwithstanding  the  ti 
are  doubled  in  pri  V 

the  only  two  singers  who  have  been  able  thus  t<>  adi 
the  admission  fee.     She  has  sung  here,  in  all,  at  nine  different 

3 


50  sontag's  holes. 

performances — eight  times  in  opera,  and  once  in  concert.     Her 
characters  were  as  follows  : 

Marie  :  "  Daughter  of  the  Regiment,"  (twice). Donizetti. 

Amtna  :  <:  Somnarnbula." Bellini. 

Rosixa  :  "  Barber  of  Seville,"  (twice) Rossini. 

Susaxne  :  w  Marriage  of  Figaro," Mozart. 

Martha  :  "  Martha,  or  Market  of  Richmond,"  (twice) Flotow. 

Iii  the  Concert  Room,  her  songs  were  "  Lascia  ch'io  pianga," 
Einaldo,  by  Handel;  "Bel  raggio  lusinghier,"  Semiramide, 
Rossini ;  and  a  scene,  Recitative  and  Arie  from  Gluck's  Iphi- 
genie  in  Tauride.  We  have  already  spoken  of  her  as  Marie ;  of 
other  characters,  we  will  only  say,  that  Rosina  and  Martha  are 
great  favorites ;  and  those  persons  who  know  what  these  are, 
will  have  a  correct  idea  of  the  principal  characteristics  of  her 
singing,  and  of  the  characters  in  which  she  stands  pre-eminent — 
unapproachable.  She  was  always  greeted  and  recalled  with 
the  most  perfect  enthusiasm  on  the  part  of  the  audience,  amid 
showers  of  bouquets  and  wreaths  of  flowers.  Her  appearance  is 
highly  interesting,  especially  after  one  becomes  a  little  familiar 
with  her  voice  and  movements.  She  is  indeed  a  fine  looking 
woman ;  youthful  and  active,  when  she  appears  in  public,  as  a 
young  lady  of  eighteen.     Her  triumph  hi  Leipzig  was  complete. 

Mad.  Sontag  has  the  reputation  of  being  an  excellent  woman, 
a  faithful  wife,  an  affectionate  mother,  and  a  warm-hearted 
friend.  She  told  me  that  she  intends  a  professional  visit  to  the 
United  States  of  America  in  the  course  of  the  coming  Summer  or 
Autumn,  naming  August  as  the  month  in  which  she  might  proba- 
bly sail.  She  has  had  quite  a  number  of  propositions,  but  chooses 
to  keep  herself  free  from  all  engagements  by  which  she  might 
possibly  be  perplexed  or  embarrassed.  It  is  not  true  that  she 
has  made  arrangements  for  Thalberg,  or  any  one  else  to  accom- 


ST.   THOMAS'S   CHURCH.  51 

pany  her;  though  she  may  probably  make  provision  for  such 
aid  as  she  may  need,  before  leaving  Europe.  We  heard  her  in 
Leipzig  often,  and  we  may  venture  to  assure  those  who  have 
been  enraptured  with  Jenny  Land,  that  they  will  not  be  disap- 
pointed in  Mad.  Sontag.  1  know  not  whether  she  possesses  the 
versatility  of  talent  of  Jenny  Land;  but  whether  she  has  equal 
power  to  please  a  popular  audience  with  "John  Anderson,"  or 
"Comin'  through  the  rye,"  or  not,  it  is  sure  that  the  appreciator 
of  perfection  in  the  art  of  song  must  be  fully  satisfied  with  Mad. 
Sontag. 


LETTER  X. 

uThoina>kirche"— Charity  Pupils— Order  of  Service — The  good  Organist— Essential 
Qualifications. 

Leipzig,  March  1,  1853. 

TnE  church  of  St.  Thomas  is  a  venerable  and  antique-looking 
jililding,  both  inside  and  out.  The  present  edifice  dates  as  far 
back  as  1482.  It  i^  upwards  of  280  feet  long,  and  115  feet  wide. 
It  has  double  galleries,  as  most  of  the  churches  seem  to  have  here ; 
besides  which  there  are  perhaps  twenty  or  more  private  boxes  or 
apartments,  which  I  suppose  belong  to  distinguished  or  wealthy 
persons.  I  have  seen  one  of  these  occupied  during  a  part  <  f 
rmon  by  clergymen,  in  their  officials,  several  bring  pres- 
ent. At  tin-  altar,  at  the  extreme  end  of  the  church,  i-  a  figure 
of  the  Saviour  on  the  cross;  and,  during  the  service,  candles 
are  kept  burning.  Between  this  and  the  nave  i-  a  reading-desk; 
and  in  the  nave,  perhaps  180  feet  from  the  altar,  stands  the 
pulpit.  During  the  devotional  services  belonging  to  the  offici- 
ating minister,  or  performed  by  him.  he  stands  at  the  altar,  in 
front  of  and  facing  the  cross,  and  with  his  back  to  the  people. 


52  CHUECH  SERVICE. 

He  does  not  remain  there,  however,  during  the  singing  exercises, 
but  retires  to  an  adjoining  room.  The  organ  loft  is  in  the  sec- 
ond gallery.  The  organ  appears  large,  and  shows  in  its  outside 
front  (as  nearly  as  I  could  estimate)  two  hundred  and  thirty 
pipes.  These  are  not  gilded,  as  with  us,  but  are  of  the  natural 
color  of  the  metal.  The  choir  for  the  ordinary  service  consists 
of  a  few  boys  ;  perhaps  a  man  or  two,  though  I  believe  usually 
only  boys.  By  the  ordinary  service,  I  mean  that  which  includes 
no  music  except  singing  of  the  hymns,  or  chorales,  which  is 
always  done  by  all  the  people.  There  is  always  an  introduc- 
tory motette  sung  by  the  choir,  without  any  accompaniment ; 
and  when  this  is  sung  there  is  an  extra  choir,  numbering  say 
forty  or  fifty,  and  all  the  parts  are  represented,  boys  singing 
soprano.  There  is  also,  every  other  Sabbath  morning,  a  mot- 
ette by  some  of  the  great  composers,  performed  with  full 
orchestral  accompaniments;  and  for  this  the  number  of  the 
choir  is  still  increased.  But  as  soon  as  the  singing  is  over,  the 
members  of  the  orchestra  and  choir  all  leave,  with  the  exception 
of  the  boys,  retained  for  the  leading  of  the  congregational  chor- 
ales. There  is,  in  connection  with  this  church,  a  school  where 
boys  are  fitted  for  the  University.  This  school  is  large,  and 
employs  about  fifteen  teachers.  Provision  is  made  for  the  gra- 
tuitous education,  and  I  believe  support,  of  sixty  pupils ;  and 
these  charity  pupils  are  the  musical  boys  whence  the  choir  is 
sustained.  They  are  regularly  taught  music,  and  are  required 
to  sing  on  the  Sabbath,  on  Saturday  at  1|  o'clock,  and  at  funer- 
als. On  Saturday  regularly  at  the  hour  mentioned,  there  is  a 
short  service,  and  the  choir  commence  it  by  singing  one  or  two 
motcttes,  without  accompaniment.  The  same  choir,  with  or- 
chestra, alternate  between  the  St.  Thomas  and  the  St.  Nicholas 
Church ;  and  the  same  motette  is  sung  in  one  church  which 
was  sung  in  the  other  the  previous' Sabbath.     I  have  heard  fine 


ORDER  OF  SERVICE.  53 

pieces  performed   by  the  choir,  by   Bach,  who  was  formerly 

organist  here ;  and  they  sometimes  sing  Palestrina;  motettes 

by  Mozart.  Haydn,  and  other  modern  authors,  are  often  done. 

rday,  Sunday,  --20th  Feb.,  I  was  at  St.  Thomas.     There 

ao  motette  with  orchestra,  on  account  of  Lent     Tli 

as  follows;  the  order  is  so  different  from  ours,  that  I 
hove  thought  it  would  be  interesting  to  many  to  have  it  given 
in  detail.  I  timed  each  piece,  and  give  the  time  which  each 
occupied. 

1.  Organ 2  minutes. 

2.  Motette,  without  accompaniment 9  '; 

3.  Organ 1 

4.  Chorale 4 

5.  Liturgical  service 2  " 

6.  Reading 2  " 

7.  Organ £  ■ 

8.  Chorale G  " 

9.  Reading 2  " 

10.  Organ J       ■ 

11.  Chorale 14 

1 2.  Sera*  >n  (about) 35        " 

13.  Chorale 2 

The  motette  (2)  may  be  found,  with  a  free  translation  of  the 
words,  at  p.  290,  Caxtica  Laudis,  "Though  all  earthly  joys 
should  perish";  and  this  will  give  some  idea  of  what  kind  of 
is  (lone  by  the  choir  without  accompaniment  The  litur- 
gical service  (5)  was  chanted  by  the  minister  at  the  altar,  with 
responses  by  the  choir.  The  reading  (6)  was  also  at  the  altar, 
but  the  minister  turned  and  faced  the  people.     The  reading  (9) 

from  the  reading  desk.  Sermon  (12)  from  the  pulpit. 
The  ministers  all  wear  a  black  robe,  with  a  white  surplice  over 

well  in  preaching  as  in  prayer:  also  a  large  ruflj  say  two 


54  THE   GOOD   ORGANIST. 

and  a  half  or  three  inches  wide,  round  the  neck,  as  is  seen  in 
portraits  of  the  Reformers  and  clergymen  of  300  years  ago. 
No  fires  in  the  churches,  however  cold.  The  service  begins 
punctually  at  \  past  8  o'clock  in  the  morning,  and  it  requires 
something  of  an  effort  to  be  up  and  ready  on  the  morning  of  a 
short  and  cold  winter's  day. 

The  following  leading  qualifications  of  a  good  organist,  have 
been  suggested  to  my  mind,  and  may  find  a  place  in  this  letter-: 

1 .  He  must  be  able  to  play  his  instrument.  The  degree  of  exe- 
cution requisite  will  depend  much  upon  the  peculiar  local  circum- 
stances of  the  congregation.  In  some  churches,  both  in  Roman 
Catholic  and  in  Protestant  countries,  an  ability  to  play  difficult 
music  will  be  required ;  but  in  general,  in  our  New  England 
churches,  no  very  great  execution  or  command  of  the  instrument 
is  indispensable  ;  and  organists  more  frequently  fail  from  other 
causes  than  from  a  want  of  skill  in  the  technicals  of  their  instru- 
ment. If  called  upon  for  some  criterion  or  standard  by  which 
to  try  one's  powers  of  performance,  we  might  name  Handel's 
choruses,  or  say  the  series  of  Handel's  choruses.  One  who  can 
play  these  has  an  abundant  command  of  his  instrument.  It 
must  be  understood,  too,  that  we  have  taken  a  standard  which 
is  rather  high ;  indeed,  higher  than  is  often  necessary  ;  for  we 
have  known  very  successful  organists  who  had  not  the  ability 
to  play  Handel.  In  fact,  no  great  power  of  execution  is  neces- 
sary for  the  common  purposes  of  the  church  service ;  and  it 
may  be  also  true  that  one  who  can  merely  play  psalmody  and 
perhaps  easy  anthems,  so  as  never  to  trip  or  touch  the  wrong 
key,  will  be  a  more  successful  church  organist  than  one  who 
can  play  John  Sebastian  Bach.  Let  it  be  understood  that  wo 
object  not  to  great  power  of  execution,  but  only  say  that  it  is 
not  essential. 

2.  A  most  important,  nay  absolutely  essential  qualification, 


I  UK   (JOOD   ORGANIST.  55 

of  a  good  church  organist  is,  that  he  should  have  not  only  a  true 
knowledge  of  his  office,  its  nature  and  design,  bnt  that  he  should 
also  possess  a  true  feeling  of  sympathy  and  fellowship  with  all, 
be  they  cleric  or  lay.  who  arc  engaged  in  the  promotion  of  the 
work  in  which  he  is  called  to  take  a  part.  The  organ  (like  the 
minister's  voire  or  powers  of  eloquence)  is  to  be  rcg; 

•icans  to  an  end.  This  end  should  be  kept  constantly  in 
view:  and  in  proportion  as  this  is  done,  the  organist  will  feel 
that  both  himself  and  his  instrument,  with  all  musical  science 
and  art.  occupy  only  a  secondary  place.  Any  true  me 
will  have  a  sufficient  love  of  music,  and  sympathy  with  / 
edge  in  science  and  skill  in  art;  but  this  is  not  the  sympathy 
we  mean,  though  often  mistaken  for  it.  In  short,  if  a  man  has 
this  sympathy,  it  will  manifest  itself  in  the  love  of  the  Sabbath, 
the  ordinances  of  religion,  and  the  parts  of  public  service  other 
than  the  musical.  An  organist  who,  after  singing  is  over,  Leaves 
the  church,  or  gives  no  attention  to  prayers  or  sermon,  what- 
ever other  excellencies  he  may  possess,  has  not  this  of  which 
we  speak,  ami  cannot  therefore  be  qualified  for  his  work 

>  may  have  the  gift  of  musical  prophec  'lung, 

and  understand  all  mysteries  and  all  knowledge,  and  though  he 
has  faith  to  remove  all  mountains  of  difficulties,  and  has  not 
charity,  or  this  love  of  the  work  to  which  he  is  called,  and 
pathy  with  those  who  are  also  engaged  in  it,  though  in  another 
department,  it  profiteth  him  nothing.     Shall  I  furnish  another 

for  the  thing  of  which  I  speak  I     "  The  fear  of  the  Lord 
is  the  beginning  of  wisdom." 

Vn  organist,  in  order  to  be  successful,  must  be  a  man  of 

judgment;  or  he  must  have  good  common   sense  in  the 

application  of  the  powers  of  his  instrument  to  the  circumst 

of  his  situation.     To  be  able  to  seize  upon  the  surrounding  cir- 

I  when  moved  by  them,  to  put  forth  the  mighty 


66  THE   GOOD   ORGANIST. 

powers  of  his  instrument,  under  the  direction  and  control  of  a 
well-regulated  judgment,  is  a  high  qualification  indeed  ;  never- 
theless it  is  one  without  which  no  one  can  succeed  well.  Let 
the  organist  then  seek  for  that  wisdom  which  is  profitable  to 
direct. 

4.  An  organist  should  have  that  control  of  himself  which  will 
enable  him  to  exercise  self-denial.  Any  one  who  is  fit  for  an 
organist  will,  of  course,  love  music  ;  his  soul  will  delight  in  it ; 
but  yet,  in  the  church,  certainly,  it  should  never  be  the  object 
of  supreme  devotion ;  and  one  will  find  it  often,  very  often, 
necessary  to  make  musical  sacrifices  to  the  great  end  of 
organists  and  ministers,  and  churches,  religion  or  religious 
improvement.  Mere  musical  effect,  the  exhibition  of  Handel 
or  Mozart,  be  it  repeated,  is  not  that  at  which  the  organist 
should  aim.  I  know  there  are  musicians  who  assert  the  con- 
trary ;  there  are  both  organists  and  conductors  of  choirs  with 
whom  music  is  supreme,  and  who  openly  contend  for  the  doc- 
trine that  the  best  musical  performance  in  itself  considered  is 
the  best  adapted  to  church  purposes,  or,  what  is  the  same  thing, 
the  most  acceptable  to  God.  That  the  best  musical  perform- 
ance, all  things  considered,  is  indeed  the  best,  of  course  we 
admit ;  but  there  may  be  a  very  high  degree  of  musical  excel- 
lence without  any  appropriate  religious  adaptation,  and  a  man 
may  be  a  most  excellent  musician  and  organ-player  who,  for 
want  of  judgment  or  self-control,  or  self-denial,  is  but  a  poor 
church  organist.  Simple  and  unpretending  strains,  compara- 
tively uninteresting  in  themselves,  will  often  be  the  most 
effective  in  religious  worship  ;  indeed,  if  we  are  not  mistaken, 
it  will  be  found,  in  general,  that  as  religious  feeling  prevails, 
and  is  intense  or  all  absorbing,  it  seeks  only  for  that  musical 
expression  which  is  most  simple  and  natural.  A  good  organist 
must  therefore  be  able  to  deny  himself  the  gratification  which 


EUTERPE  CONGEST.  57 

musical  science  or  art  in  itself  affords,  and  seek  and  obtain  a 
higher  satisfaction  in  the  promotion  of  the  spiritual  good  of  his 
il-llow  men. 

We  need  not  proceed  further;  for  where  the  qualifications 
already  pointed  out  exist,  there  will  be  no  danger  but  that  oth- 
ers will  exist  also,  and  that  the  individual  possessing  them  will 
succeed,  and  be  useful  and  happy  in  his  profession.  Where 
these  are  wanting,  a  Handel's  genius,  a  Bach's  skill,  or  a  Men- 
sohn's  learning,  will  not  be  sufficient. 

We  add  a  simple  remark.  If  congregations  would  take  these 
things  into  view  when  about  engaging  an  organist,  seeking  for 
other  qualifications  than  those  which  are  merely  musical,  many 
difficulties  would  be  avoided,  and  occasions  would  much  more 
seldom  occur  of  trouble  between  organist  and  singers,  or  organ- 
ist and  ministers  or  people. 


LETTER  XI 


Musi!--.  rpe— Cluck— Chenibini—nach— Part-Son^s    by    Men's    Voices— 

Beethoven. 

Leipzig,  March  12,  L8SS. 

An  excellent  concert  was  given  by  the  Euterpe  on  the  even- 
ing of  the  9th  inst.  This  orchestra,  though  regarded  as  inferior 
to  thai  "t'  the  Gewandhaus,  is,  nevertheless,  fully  competent  to 
put  life  into  any  of  the  compositions  of  the  great  masters  •.  it 
can  expound  Beethoven,  make  clear  his  meaning,  and  bring  one 
into  communion  with  his  spirit,  as  was  abundantly  manifested 
on  the  present  occasion.  It  numbers  ten  violins  on  a  part,  five 
double,  basses,  an  equal  number  of  violincellos,  and  a  complete 
set  of  wind  instruments.      A  perfect  knowledge  and  command 


58  GLUCK. 

of  his  instrument,  a  clear  perception  of  the  music  to  be  per- 
formed, and  the  will  to  do  the  exact  thing  necessary,  in  the  best 
possible  manner,  seems  to  belong  to  each  performer.  A  uni-* 
versal  determination  to  succeed  seems  to  prevail ;  every  man 
is  not  only  competent  to  the  discharge  of  his  duty,  but  is  at  his 
post,  watchful  and  ready,  heart  and  hand,  to  put  forth  his  whole 
power,  according  to  the  circumstances,  at  the  indication  of  the 
baton.     Why  should  not  the  result  be  satisfactory  1 

A  rich  programme  was  presented  this  evening.  The  concert 
opened  with  an  overture  which  is  a  great  favorite  here,  and 
often  played  in  public,  though  I  have  not  heard  it  in  America, — 
"  Iplugene  in  Aulis"  by  Gluck.  It  is  a  charming  overture,  and 
any  one's  musical  reputation  might  safely  rest  on  the  produc- 
tion of  a  single  piece  like  this.  Its  subjects  are  at  once  natural 
and  beautiful,  and  they  are  always  treated  in  a  most  masterly 
manner ;  with  elaborateness  it  is  always  intelligible,  and  with 
copiousness  it  is  never  diffuse.  There  is  no  departing  from  the 
main  topic  of  discourse,  no  wandering  in  the  mazes  of  thick 
darkness,  or  searching  for  ideas,  but  the  leading  thoughts  are 
kept  ever  before  the  mind,  presented  now  in  this  form,  and  now 
in  that.  Its  analogies  are  perfect,  its  contrasts  are  striking,  and 
its  light  and  shade  are  applied  with  the  hand  of  a  Raphael  or  a 
Turner.  It  is  full  of  pleasing  melody,  yet  always  subject  to 
the  laws  of  good  taste,  and  manifesting  both  genius  and  science  ; 
it  is  in  the  performance,  perhaps,  equally  satisfactory  both  to 
the  musician  and  to  the  mere  unstudied  lover  of  song. 

The  second  piece  was  an  extract  (first  and  second  movements) 
of  Cherubini's  Requiem,  written  for  male  voices.  This,  which 
is  one  of  Cherubini's  great  works,  was  written  under  circum- 
stances somewhat  exciting,  as  I  remember  to  have  heard  years 
ago.  On  some  funeral  occasion  when  a  Requiem  was  desired, 
that  which  he  had  previously  written  was   rejected,  because 


REQUIEM. 

composed  for  a  mixed  ehoir ;  this  caused  him  to  put  forth  his 
jiea  in  the  production  of  a  mass  for  men's  voices  only. 
<>ughout  is  of  a  very  high  character,  though  it 
!  not  much  in;  -  •  who  desire 

'/  tunes  or  pleasant  voices.     The  first  movement, 
rr.aui."  with  it*  paniment  of  violoncellos 

and  doubl  ntive  and  sad,  and  tells  only  of  sorrow, 

penitence  and  grief.  In  the  u  Dies  iroe"  the  full  powers  of  the 
orchestra  are  brought  into  requisition  ;  and  unit  ras  the 

D  the  present  occasion,  with  sixty  well-trained  and  fear- 
en's  voices,  the  effect  was  awfully  grand  and  command- 
ing.    The  majestic  movements,  the  severely  dissonant  harmo- 
the  wailings  of  the  strings,  the  frightful  appeals  of  the  in- 
struments of  blast  and  percussion,  and  the  cryings  out  of  the 
-.  all  combined  to  produce  an  effect  which  was,  at  times, 
truly  terrific  and  overwhelming.     The  ninetec:  .  how- 

ever, have  furnished  an  opportunity  for  musical  contrasts 
which  have  been  well  introdi;  ling  variety  and  r. 

•    The  third  pi  (he  very  unique  but,  to  the  musician, 

highly  interesting  "  Go\  2  (c  moll)  Von  J.  S. 

Bach.  Following  the  Requiem,  it  was  like  a  delightful  calm 
after  a  storm,  enabling  one  to  realize  where  he  was,  to  breathe 
easily  again,  and  put  on  a  cheerful  countenance. 

ial  part-songs  were  then  sung  by  the   ;*  Mannerchor" 
with  >ut  accompaniment. 

The  second  part  consisted  of  the  M  >"  tor,  ly  L. 

Von  Beethoven."*  What  a  symphonic  this  is  ?  We  have  often 
heard  it.  and  it  is  well  known  in  America.  We  will  not  at- 
tempt ad  ;  we  li-tened  with  intense  interest  to  the 
whole  of  it.  hardly  daring  to  breathe  in  the  piano  and  not  hav- 
ing the  power  to  do  so  in  the  /  It  strange 
that,  whether  "in  the  out  of  the  body"  at  it3 
close,  we  should  not  be  i             tell  1 


60  SCHUMANN. 

LETTER  XII. 

Robert  Schumann,  the  Composer — Clara  Schumann,  the  Pianist — Their  Great  Concert. 

Leipzig,  March  13, 1852. 

The  concert  was  given  in  the  saloon  of  the  Gewandhaus,  by 
Robert  and  Clara  Schumann.  The  conductor  was  Robert 
Schumann  himself;  the  pianist  was  his  wife.  The  orchestra 
was  large,  and  the  best  that  Leipzig  could  furnish.  Robert 
Schumann  has  great  celebrity,  and  especially  hi  those  cities 
where  he  has  resided  and  has  brought  out  his  music  under  his 
own  immediate  direction.  No  one  since  Mendelssohn's  death 
stands  so  high  in  the  estimation  of  the  German  musicians. 
There  are  places  where  he  is  not  known,  because  his  music  is 
not  understood ;  but  even  in  these,  and  throughout  Germany, 
he  is  regarded  as  standing  at  the  very  head  of  his  profession, 
and  no  one  commands  as  he  does  the  universal  attention  of 
scientific  men.  Some  go  so  far  as  to  regard  him  as  the  great- 
est symphonist  that  has  ever  lived ;  but  time  can  only  determine 
this. 

The  concert  had  been  advertised  for  some  time,  and  the  ex- 
pectations of  the  lovers  of  music  were  fully  awake.  Not  only 
were  the  musicians  and  lovers  of  music  of  Leipzig  present,  but 
literary  and  scientific  men  of  the  various  professions,  and  the 
beauty,  and  wealth,  and  fashion  of  the  city  came  to  do  homage 
to  talent  of  so  high  an  order,  and  to  learning  so  extensive. 
Like  the  people  at  Lystra,  so  here,  they  lifted  up  their  voices, 
saying,  not  in  the  speech  of  Lycaonia,  but  in  that  of  Saxony, 
"  The  gods  are  come  down  to  us  in  the  likeness  of  men." 

I  suppose  that  in  no  part  of  the  world  is  greater  respect  paid 
to  men  of  genius,  talent  or  learning  than  in  Germany ;  and  cer- 
tainly nowhere  else  are  musical  gifts  or  attainments  so  fully 


IOCS.   BGHU1CANN.  61 

.appreciated  and  so  highly  honored.  Mendelssohn  was  wor- 
shiped while  he  lived,  ami  since  hi  a  his  mantle  t 
to  have  rested  upon  Robert  Schumann.  But  it  was  not  only 
from  this  city  that  the  audience  was  gathered  on  this  occasion  ; 
it  had  been  noised  abroad  that  this  concert  was  to  be  given,  ami 
1  men  of  high  standing,  Kapelin 
from  the  region  round  about,  came  up  to  Leipzig.     Berlin, 

len,  Weimar,  and  other  places  were  r<  ■  !.     At  the 

of  this  foreign  company,  and  indeed  at  the  head  of  the 

company,  was  Listz  ; — the  very  Listz  himself  came  from 
Weimar  to  listen,  and  to  pay  honor  to  greatness.  But  Robert 
Schumann  is  not  alone,  he  has  a  "  help  meet"'  indeed.  Clara 
Wieck  was  perhaps  the  most  distinguished  female  pianist  who 

vr  lived  ;  and,  unlike  many  ladies,  she  did  not  give  up  her 
instrument  when  she  became  Clara  Schumann,  but  rather  de- 
voted herself  with  greater  assiduousness  under  her  new  in- 
structor, than  she  had  previously  done  under  the  teachings  of 
her  father,  to  the  profession  which  had  been  the  choice  of  both 
her  husband  and  herself     No  wonder  that  the  people  should 

ble  on  the  occasion  of  a  visit  from  this  far-famed  couple. 
But  they  came  not  to  hear  any  one  sing  or  play  on  an  instru- 

for  although  the  wife  is  indeed  a  most  accomplished  pian- 
ist, yet  the  husband  neither  plays  nor  sings;  but  they  rather 
came  to  hear  the  new  music  that  the  master  had  produced. 
They  looked  for  some  new  musical  revelation,  for  new  chords 

ssible),  or  new  progressions  ;  at  Least  some  new  method 
of  treatment,  or  harmonic  development  was  expected.  It  was 
not  to  be  the  same  tune  over  again.  They  went  away  satisfied  ; 
for.  not  only  was  the  musical  performance  pronounced  to  be 
one  of  ih.'  •.  l>ut  the  music,  or  the  principal  pi 

attraction,  was  :  as  worthy  of  its  author. 

The  first  piece  was  the  .      A.    Byron's   M- 


62  SCHUMANN. 

von  B.  Schumann."  This  is  an  overture  in  the  true  learned 
German  style,  and  as  unlike  the  overtures  of  the  modern  Italian 
and  French  schools  as  can  be  imagined ;  of  course,  it  cannot  be 
popular,  that  is,  it  cannot  take  with  the  people  generally  ;  on 
this  occasion,  however,  it  was  fully  appreciated  and  listened  to, 
by  one  of  the  most  intelligent  musical  audiences  that  could  be 
brought  together  in  Germany,  with  unmingled  delight.  The 
second  piece  was  "  Concert  No.  2,  F  moll,  fllr  Piano  Forte  mit 
Begleitung  des  orchester,  von  F.  Chopin"  performed  by  Clara 
Schumann.  This  is  said  to  be  in  Chopin's  peculiar  style,  and 
one  of  his  most  difficult  productions.  Mad.  Schumann  played 
it  with  apparent  ease,  and  with  a  delicacy  of  touch  and  distinct- 
ness of  articulation  not  to  be  excelled.  She  has  not  so  great  a 
power  as  some ;  in  this  respect  she  resembles  Chopin  himself, 
but  in  everything  else  requisite  to  the  perfection  of  piano  forte 
playing  she  is  fully  accomplished.  The  third  juiece  was  a  song 
by  Herr  JBehr,  necessary  for  variety's  sake  ;  after  which  Mad. 
Schumann  played  most  charmingly  two  pieces — "  Andantino 
von  W.  Sterndale  Bennett"  and  Lied ohne  Worte  (F  major),  von 
F.  Mendelssohn  Bartholdy." 

The  second  part  of  the  concert  (and  here  was  the  attraction) 
consisted  of  "  Die  Pilgerfahrt  der  Rose"  (the  pilgrimage  of  the 
rose),  a  new  composition  for  voices  (solo  and  chorus)  and  orches- 
tra by  Robert  Schumann.  This  has  been  performed  here  a  week 
or  two  before,  and  was  noticed  in  a  previous  communication. 
Anything  like  an  analytical  notice  of  it  from  one  who  has  heard 
it  but  once  or  twice  would  hardly  be  expected,  and  in  the  pres- 
ent case  it  would  be  quite  absurd.  It  will  be  known  in  a  few 
years.  The  orchestra  never  played  better ;  the  idea  of  playing 
under  Schumann  inspired  every  man  with  new  life  and  energy, 
and  the  improvement  in  the  performance  of  the  music  under  the 
direction  of  the  composer  (there  having  been  a  previous  rehearsal 


63 

al-o  under  his  teaching),  was  said  to  be  very  apparent.  We 
can  hardly  imagine  a  musical  occasion  that  would  be  more  ra- 
the truly  <  rStcian 
than  this.  For  the  few  details  here  given  we  are  indebted  to 
others,  f<>r  we  did  nut  attend  this  concert  ;  we  neither  saw  the 
sight  aor  heard  the  sound  thereof  Why  !  It  was  given  on  Sun- 
Morning,  March  14th,  at  11  o'clock. 


LETTER  XIII, 

The  Concerts— Gewandhaus— David— Dreyshock— Rietz  -Robert  Schumann— Quartette 

— Dupont. 

LEirzu;,  March  14.  l-.VJ. 

The  last  Gewandhaus  concert  was  one  of  peculiar  interest. 
The  band  was  in  the  most  perfect  order,  and  the  programme 
\\as  unusually  attractive ;  though  great  variety  of  music,  both 
with  respect  to  authorship  and  character,  is  always  presented 
to  the  patrons  of  this  celebrated  eh  ries  of  concerts.  The  Sym- 
-  by  Mozart  in  Eb  major;  it  is  less  noisy,  flighty  and 
diffuse  than  some  more  modern  compositions,  but  not  less  in- 
telligible or  beautiful.  The  adagio  is  particularly  melodious, 
.lit  and  attractive. 

A  scene  and  arte  from  "Orpheus,"  by  Gluck,  followed. 
Gluek  is  a  decided  favorite  here,  and  especially  as  a  dramatic 
writer  stands  among  the  very  first, 

The  third  piec  concerto  fir  violin,  by  Beethoven,  per- 

formed  by    Herr  Concertmeister  F.  David.     This  con< 
worthy  the  reputation  of  its  author,  was  finely  rendered  by  the 
violinist,  and  received  with  a  hearty  applause.     It  is  very  long, 
does  not  tiiv  for  it  is  full  of  variety,  and  there  is  enough 


64  mexdelssohn's  "  walpurgisxacht." 

to  admire,  both  in  the  principal  and  in  the  accompanimen' 
Two  quite  long  cadenzas^  composed  by  the  performer,  contaii 
ing  each  an  ingenious  recapitulation  of  the  thoughts,  or  ratho. 
allusion  to  the  various  figures  of  the  movement  in  -which  th< 
cadenza  occurred,  were  introduced,  with  excellent  taste  anf 
skill. 

The  second  part  of  the  concert  consisted  of  "  Die  erste  Wa 
purgisnacht"  a  ballad  by  Goethe,  set  to  music  by  Mendels 
sohn.  A  choir  of  about  one  hundred  and  fifty  voices  sang  the 
choruses  (and  there  is  much  chorus  in  the  piece)  with  admira- 
ble promptness  and  energy.  The  music  is  difficult,  both  for 
vocalists  and  intrumentalists ;  it  is  one  of  Mendelssohn's 
strong  pieces,  and  is  full  of  his  peculiar  harmonies.  It  is 
mostly  very  loud,  with  an  abundance  of  instruments  of  noise, 
and  extra  double  drums  for  earthquake,  volcano,  and  thunder; 
though  there  is  most  acceptable  relief  in  occasional  piano  pas- 
sages. Although  Mendelssohn  does  not  belong  to  the  noisy 
school,  yet  he  has  shown  in  the  Walpiirglsnacht,  that  if  he  had 
chosen  to  do  so  he  might  have  cast  quite  into  the  shade,  or 
thundered  out  of  existence,  all  the  Verdis  of  modern  times. 

A  charming  Quartette  performance  was  recently  given  by  a 
few  of  the  very  best  artists  here,  as  David,  Dreyschock,  (violin- 
ist,) Eietz,  and  others  whose  names  are  less  known.  They 
were  assisted  by  a  pianist  from  Munich,  Herr  Speidl.  The 
following  pieces  were  played.  1st.  Trio  for  pianoforte,  violin 
and  violoncello,  by  Beethoven,  (op.  70.)  by  Speidl,  David,  and 
Rietz.  2d.  Quartette  for  strings,  composed  by  David.  3d. 
Variations  for  pianoforte,  by  Mendelssohn.  4th.  Quartette  by 
Beethoven,  (op.  59,)  performed  by  Dreyschock,  Rongen,  Her- 
mann, and  Rietz. 

There  are  only  four  of  these  concerts  in  the  annual  series,  so 
that  they  are  much  more  rare  here  than  in  Boston.     They  seem 


11  DEB    ROSE    PILGERFAHRJ."  66 

■  be  so  popular  as  the  concerts  by  full  orchestra,  yet  they 
draw  out  a  musical  audience  of  great  intelligence,  and  on  this 

mi  the  learned  ones  were  there.     It   is   indeed  a   { 
luxury  to  hear  these  choice  works  of  Beethoven  and  oth 

'lv  given.  The  Quartette  above  mentioned  (op.  ."39)  is 
well  known,  is  always  a  favorite,  and  was  on  this  occasion  the 
crowning  | 

>ther  recent  musical  performance  of  much  interest  was 
on  the  occasion  of  the  anniversary  of  a  Singing  Academj  - 
oiety)  of  this  place.  But  one  piece  was  sung,  and  that  was  a  new 
composition  by  Robert  Schumann,  ~  Der  Rose  Pilgerfuhrt." 
(Pilgrimage  of  the  Rose.)  an  allegory  by  M.  Horn,  to  which 
Schumann  has  written  music.  The  choir  consisted  of  about 
one  hundred  voices,  well  balanced  as  to  the  parts,  with  an  effi- 
cient orchestra ;  the  whole  directed  by  the  Concertmeister 
David. 

The  music  is  mostly  solo,  though  some  fine  chorus  effects  are 
produ  ially  in  a  funeral  scene,  the  -burial  of  a  miller's 

daughter."  It  is,  throughout,  highly  scientific  or  learned,  and 
of  course  difficult.  A  very  fine  musician,  Mr.  Richter,  teacher 
of  harmony  and  instrumentation  in  the  conservatory,  who  was 
sitting  beside  me.  said,  -Robert  Schumann  is  truly  a  greal 
composer,  but  his  music  must  be  studied,  and  heard  more  than 
once,  to  be  appreciated;  we  cannot  understand  it  at  the  first 
hearing."  His  opera,  "  GcnovevaP  failed — it  is"  too  learned, 
and  is  now  seldom  performed.  He  writes  for  the  musicians 
rather  than  for  the  people. 

Through  the  politeness  of  Mr.  Moscheles,  I  was  permitted  to 
listen  to  a  private  performance  of  a  pianist,  who  is  ju>t  coming 
into  most   favorable  no1  Belgium,     He 

-  iy  the  critics,  very  great  execution  and  delicacy  of  touch, 


bb  CHURCH  OF  ST.  NICHOLAS. 

and  is  regarded  as  approaching  nearer  to  Listz,  than  any  other 
person.  He  intends  a  professional  visit  to  the  United  States. 
If  all  the  musicians  who  go  there  are  treated,  as  for  as  dol- 
lars and  cents  are  concerned,  as  was  Jenny  Lind,  there  will  be 
no  lack  of  singers  and  "  players  upon  instruments." 


LETTER    XIV 


Church  of  St.  Nicholas— Martin  Luther— Singing  by  the  great  Congregation— Second 
Service— Small  attendance. 

Leipzig,  March  21,  1852. 

A  brief  account  of  a  public  service,  or  rather  two  services, 
which  I  attended  at  the  Nicholai  kirclie,  on  Sunday,  may  per- 
haps interest  some  of  your  readers  ;  at  least  they  will  see  it  is 
quite  a  different  thing  from  "  going  to  meeting  "  in  New  Eng- 
land. This  fine  old  church  was  erected  many  centuries  ago, 
but  it  was  greatly  improved  and  enlarged  in  1513,  and  again 
repaired  in  the  inside  in  1796.  A  church  record  informs  us 
that  on  the  25th  of  May,  in  the  afternoon,  Dr.  Martin  Luther 
preached  in  this  house. 

The  first  service  commenced  at  8i  o'clock  in  the  morning ; 
and  as  the  mornings  are  short  and  dark  in  the  winter  season,  it 
requires  some  effort  to  be  punctual.  The  church  is  a  large  one, 
and  the  stone  walls  and  uncushioned  seats  are  very  cold,  yet  is 
there  no  fire  found  there,  save  the  burning  candles  on  the  altar, 
which,  though  they  shed  some  light  around,  afford  no  warmth. 
It  is  not  a  Papal,  but  a  Protestant  church ;  the  Lutherans  use 
the  crucifix,  candles,  &c,  though  less  than  the  Romanists.  There 
are  two  galleries,  one  rising  high  above  the  other,  each  capable 


LUTHERAN   SERVICE.  G7 

of  containing,  perhaps,  five  hundred  people  ;  so  that  the  church 
may  accommodate,  say  three  thousand,  on  its  three  floors.  The 
organ  is  large,  with  three  rows  of  keys,  pedals,  and  fifty-four 

The  exercises  commenced  punctually  at  the  hour,  by  a  short 
prelude,  played  in  fine  organ  style,  but  not  more  than  about 
two  minutes  long.  This  was  followed  by  a  choir  piece,  sung 
without  any  accompaniment,  by  a  choir  of  men  and  boys,  and 
without  much  effect.  The  choir  had  not  power  sufficient  for  so 
large  a  building.  An  interlude  of  a  few  minutes  upon  the 
organ  followed,  when  a  chorale  was  sung  by  the  congregation, 
accompanied  with  full  organ.  The  congregation  was  not  yet 
large,  but  the  people  were  constantly  coming  in,  and  it  was 
fist  increasing.  Still  the  effect  of  the  general  singing  was  quite 
animating.  This  being  concluded,  the  minister  began  his  part 
of  the  service,  by  chanting  a  short  sentence,  which  was  imme- 
diately responded  to  by  the  choir ;  and  again  the  minister,  and 
again  the  response.  By  this  time  the  church  was  well  filled. 
Prom  an  estimate  that  I  made,  I  concluded  that  there  could  not 
be  less  than  about  twenty-five  himdred  people  present.  The 
organ  loft,  too,  capable  of  accommodating,  perhaps,  a  hundred. 
•mpletely  filled  with  vocal  and  instrumental  performers, 
including  the  common  orchestral  instruments,  with  trumpets 
and  drums  conspicuous.  When  the  slow  solemn  chant  was 
ended,  the  organ  burst  out  in  a  loud  minor  voluntary,  which 
continued  three  or  four  minutes,  during  which  time  the  violins, 
violoncellos,  double  basses,  and  wind  instruments  tuned.  Yet 
so  carefully  was  this  done,  that  it  was  hardly  perceptible,  for 
■gan  was  giving  out  its  full  progressive  chords,  so  aa  to 
nullity  the  tuning  process,  at  least  upon  the  ears  of  the  people. 
Tune  being  secured,  the  choir,  with  organ  and  orchestra  ac- 
companiment, sung  a  motette.  or  hymn   by  Beethoven.     This 


68  THE    MOTETTE. 

had  been  announced  in  the  newspapers  of  Saturday,  and  was, 
I  suppose,  with  many  an  object  of  attention.  It  occupied,  per- 
haps, fifteen  minutes,  and  was  very  well  done  :  the  drums  and 
trumpets  especially  doing  line  execution  in  the  great  church  in 
the  forte  passages.  It  closed  with  a  shore  fugue,  in  which  the 
points  were  distinctly  taken  up  and  marked.  The  choir  did  not 
number  more  than  from  thirty  to  forty  persons,  and  had  not 
sufficient  power  for  the  building :  but  still  the  performance  was 
quite  effective,  I  perceived  that  while  most  of  the  people  gave 
close  attention  to  the  music,  others  were  not  so  much  interest- 
ed, and  one  goodly-looking  old  man  directly  in  front  of  me 
spent  the  time  in  reading  over  his  psalm-book.  As  soon  as  the 
motette  was  concluded,  the  members  of  the  orchestra  took  up 
their  instruments  and  left  the  house,  having  nothing  to  do  with 
the  remaining  service.  And  now  came  the  grand  singing — for 
the  great  congregation  were  now  together.  The  organ  gave 
out  a  choral,  when  all  the  people  lifted  up  the  loud  chorus  of 
praise.  The  whole  house  was  filled  with  sound.  It  was 
sublime,  and  I  found  myself  much  more  moved  by  this  than  by 
the  previous  choir  and  orchestra  performance.  The  hymn 
(4S0)  was  indicated  on  tablets  in  different  parts  of  the  house, 
and  every  person  had  his  book  in  his  hand.  Even  the  standers- 
up  in  the  aisles  (for  there  were  hundrds  of  these)  had  their 
books  and  joined  in  the  song.  The  singing  was  in  unison :  I 
could  not  tell,  being  at  the  opposite  side  of  the  house,  whether 
the  choir  sang  the  parts  or  not :  the  organ  did  indeed  pour 
full  harmony,  but  even  this  was  vastly  overpowered  by  the 
multitude  of  voices — men's  voices,  and  women's  voices,  and 
children's  voices,  mingled  in  one  mighty  torrent  of  sound,  roll- 
ing through  the  high  arches  like  the  rush  of  many  waters.  At 
the  end  of  each  line  of  the  stanza  there  was  an  interlude  of  a 
few  chords  upon  the  organ,  but  there  was  no  long  interlude  at 


THE  CHORAL. 

td  of  the  stanza,  aa  in  the  American  churches.  Indeed  the 
hymn  seemed  t«>  flow  along  from  beginning  to  end,  as  a  whole, 
and  without  interruption.  I  observed,  too,  that  in  the  hymn- 
singing  1  heard  in  England,  the  interludes  between  the  stanzas 

\rrv  >hort.  and  often  omitted  altogether.     A  very  pleas- 
produced  at  the  close  of  this  and  every  choral 
hymn,  thus:  as  soon  as  the  voir.  on  the  last  word  of 

the  last  stanza,  every  head  was  inclined  forward  as  in  the  atti- 
tude of  prayer,  while  the  organ  died  away  piano,  in  a  very  short 
post-hide  of  perhaps  half  or  three-quarters  of  a  minute,  tin 
pie  retaining  their  position  until  the  last  sound  was  heard,  when 
they  gently  resumed  an  erect  posture.  After  this  followed 
liturgical  prayers,  read  by  the  clergyman,  for  a  few  minutes  ; 
and  then  the  ehoralc  was  resumed,  another  stanza  or  two  of  the 
same  hymn  being  sung  to  the  same  chorale  as  before.  After 
this  followed  the  sermon.  I  did  not  understand  it,  but  if  one 
might  judge  by  the  appearance  of  the  people,  it  was  good,  for 
they  all  seemed  to  give  close  attention  for  at  least  three-quarters 
of  an  hour. 

When  the  sermon  was  ended,  and  a  short  prayer  offered, 
••  Vater  unser,"  the  hymn  tin,  and  still  another 

stanza  sung  to  the  same  tune  as  before;   so  that  the  sami 

•mj  three  /</,><.•<  In  the  same  service.  A  closing  prayer  of 
a  few  words,  and  the  great  ion  gradually  disp. 

amid  the  loud  rolling  of  the  diapasons. 

At  half-past  11,  A.  M.  Id  in  the 

church,  i.  <.  about  half  an  hom-  after  the  conclusion  of  the 
first.     It  had  been  previously  advertised  that  at  this  hour  there 
would  be  preaching  by  a  divinity  student.     I  attended;  tb 
tice  had  ;.  meed,  although  there  v 

qs  in  the  hou  '.    the 

sliKjtr.  and  one  other  person  who  was  in  the  organ-loft  (where 


70  SECOND  SERVICE. 

I  ventured  to  go),  and  who  seemed  to  be  also  a  looker-on.  The 
organ  was  playing  with  some  sixteen  or  eighteen  stops  out,  and 
the  singer  was  singing  a  ehorale  by  himself  (in  unison !)  with- 
out a  single  person  to  hear  or  to  be  edified  by  the  psalm. 
I  was  the  fourth  person.  Soon,  however,  two  or  three  others 
came  in.  and  as  the  last  stanza  was  drawing  to  a  close,  the  min- 
ister entered  the  pulpit  from  a  vestry  door.  By  the  time  he 
began  his  sermon,  which  was  as  soon  as  the  singing  closed,  the 
congregation  numbered  in  all,  including  the  organist,  the  singer, 
the  minister  and  the  sexton  (who  made  his  appearance  when 
the  minister  came  in),  I  believe,  just  twelve  persons,  six  of 
whom  were  seated  in  the  body  of  the  house  near  the  pulpit, 
and  appeared  to  have  come  for  the  purpose  of  attending  the 
service.  A  short  prayer  was  read  before  the  preaching.  The 
sermon  occupied  about  forty  minutes,  during  which  time  sev- 
eral persons  came  in  and  others  went  away,  so  that  from  the  be- 
ginning to  the  end  of  the  exercises,  from  eighteen  to  twenty  peo- 
ple may  have  been  for  a  part  of  the  time  present.  The  preacher 
did  not  seem  to  be  in  the  least  disconcerted  from  the  tact  that 
he  was  almost  without  hearers,  but  went  on  as  though  the 
house  had  been  quite  full.  The  sexton  seemed  to  enjoy  it 
much,  as  he  had  nothing  to  do,  ancl  the  singer  and  the  organist, 
too,  seemed  to  have  no  particular  anxiety  as  to  the  effect  of 
the  psalmody.  The  moment  the  sermon  was  ended,  the  min- 
ister, preceded  by  the  sexton,  retired,  and  then,  after  they  were 
out.  came  the  concluding  song,  which  was  a  grand  chorale,  per- 
formed vocally  by  the  singer  (in  unison  !)  and  instrumentally  by 
the  organist,  on  sixteen  or  eighteen  stops  of  Ins  organ.  I  sup- 
pose, too,  that  the  six  or  seven  persons  below  joined  in  the 
song,  but  they  did  not  add  so  much  to  the  power  of  the  chorus 
as  to  enable  me  to  say  with  certainty  whether  the  singing  was 
by  the  congregation,  or  by  the  choir  only. 


ICAL  CONSERVATORY.  71 

This  account  of  the  second  service  will  appear  so  strange, 
that  I  fear  some  of  your  readers  may  doubt  whether  the  writer 
is  in  earnest.  I  can  assure  them  that  it  is  strictly  correct,  and 
that  the  service,  and  the  whole  of  it,  has  been  described  just  as 

it  occurred. 


LETTER  XV. 

The  Conservatory  of  Music  at  Leipzig,  Germany. 

Leipzig,  March  29,  1852. 

Music  has  made  so  much  progress  within  the  last  few  years, 
that  the  importance  of  a  more  extensive  and  thorough  course  of 
education  is  beginning  to  be  felt ;  and  this  is  especially  the  case 
with  those  who  have  made  the  greatest  advancement.  It  has 
not  been  generally  known  in  our  country,  that  there  is  enough 
in  music  to  occupy  years  of  close  application.  The  older  sing- 
ing book-;,  published  some  fifty  or  eighty  years  ago,  contained 
a  few  pages  of  ••  Rides"  giving  some  directions  as  to  finding  the 
bribing  the  different  kinds  of  time ;  and  a  man 
who  could  so  explain  these  that  no  one  could  possibly  under- 
stand liini.  was  thought  to  be  musically  learned.  Many  a  time 
have  I  heard  the  exclamation:  "What,  devote  his  whole  time 
to  music !"  as  if  it  was  quite  impossible  that  one  could  find  any- 
thing to  study  in  it  for  more  than  an  evening  or  two  in  a  week, 
for  two  or  three  months.  Even  now  there  are  but  very  few 
who  have  any  just  conception  of  the  previous  preparation,  time 
and  labor  necessary  to  thorough  knowledge  in  the  science,  or 
skill  in  the  art.  The  subject  is  better  understood  this  side  the 
Atlantic,  and  especially  in  Germany,  where  for  many 
music»schools  similar  to  our  law,  medical  and  theological  schools 


72  MUSICAL   CONSERVATORY. 

have  been  established.  It  is  exceedingly  difficult,  nay,  quite 
impossible,  to  obtain  a  thorough  musical  education  at  present 
in  America  ;  for,  although  we  have  good  musicians,  they  are 
scattered  about  through  the  different  cities,  and  one  cannot  avail 
himself  of  their  instructions  but  at  great  inconvenience  and  ex- 
pense ;  and  it  is  found  to  be  a  cheaper  and  a  quicker  way  to 
come  to  Europe,  if  one  is  determined  to  make  himself  in  good 
•  earnest  a  musical  student. 

The  inquiry  has  often  been  made :  What  are  the  musical  con- 
servatories of  Europe?  what  are  their  advantages?  and  how 
may  one  avail  himself  of  their  privileges  1  With  the  design  of 
answering,  in  part,  these  questions,  the  following  account  of  the 
Conservatory  here  has  been  prepared.  It  has  been  written  by 
a  young  gentleman,  a  Bostonian,  a  graduate  of  Harvard  Uni- 
versity, now  a  musical  student  and  member  of  the  Conservatory 
— Mr.  J.  P.  When  young  Americans,  having  good  natural 
talent,  favorable  early  musical  associations,  and  a  sufficient  pre- 
paratory education,  shall  devote  themselves,  like  Mr.  P.,  to  the 
thorough  study  of  musical  science  and  art,  we  may  look  for  the 
rapid  progress  and  success  of  music  in  our  land,  and  may  hope 
to  realize  some  of  the  advantages  for  which  it  was  designed. 

"This  institution  was  founded  in  1843,  under  the  patronage 
of  the  King  of  Saxony,  and  with  the  valuable  co-operation  of 
the  Capelmeister,  Dr.  Felix  Mendelssohn  Bartholdy.  Its 
reputation  spread  so  rapidly,  both  in  and  around  Germany,  that 
at  the  close  of  the  first  half  year  it  numbered  forty-four  pupils, 
thirty-three  male  and  eleven  female.  At  the  commencement 
of  the  second  term,  the  number  had  increased  to  sixty.  These 
pupils  are  attracted  thither  not  only  from  all  parts  of  Germany, 
but  from  Belgium,  Holland,  Denmark,  Norway,  Russia,  Eng- 
land and  America.  • 


MUSICAL   CONSERVATORY.  73 

"An  institution  like  this,  whose  object  is  to  give  the  student 
a  thorough  foundation  in  all  branches,  the  knowledge  of  which 
fa  indispensable  to  every  good  musician,  and  to  enable  him  to 
perfect  himself  theoretically  as  well  as  practically,  has  this  ad- 
vantage over  private  instruction — that  by  the  participation  of 
several  scholars  in  the  same  immediate  object  of  study,  it  awak- 
ens and  keeps  alive  in  them  a  true  musical  feeling,  stimulates 
them  to  emulation  and  hence  to  industry,  and  preserves  them 
from  partiality  or  one-sidedness  in  the  formation  of  their  tastes, 
a  fault  against  which  every  artist  should  be  particularly  cau- 
tious, during  the  progress  of  his  studies.  It  has  also  the  advan- 
tage of  cheapness.  Each  student  pays  about  860  a  year,  for 
•  which  he  receives  instruction  in  all  branches.  This  moderate 
sum,  as  one  can  readily  see,  must  bear  a  very  small  proportion 
to  the  expense  of  private  instruction. 

"The  theoretical  part  of  the  education  consists  of  a  complete 
course  of  three  years.  The  pupils  are  divided  into  six  classes, 
and  a  new  term  commences  every  half-year ;  though  if  one  is 
sufficiently  prepared,  he  can  enter  any  of  the  advanced  classes 
at  the  time  of  his  admission  into  the  Conservatory.  The  first 
;ir  is  devoted  to  Simple  Harmony  ;  the  second  to  Harmony 
and  Simple  Counterpoint ;  and  the  third  to  Harmony,  Double 
Counterpoint,  and  Fugue.  The  study  of  Composition  and  Mu- 
sical Form  constitutes  a  separate  branch,  being  under  the  charge 
of  a  different  instructor.  It  comprises  all  the  different  forms  of 
vocal  and  instrumental  composition,  with  the  analysis  of  classi- 
cal works.  There  arc  also  exercises  in  playing  from  score  and 
the  art  of  conducting  an  Orchestra.  The  Italian  language  is 
also  taught  to  those  who  devote  themselves  principally  to  sing- 
ing. Lectures  are  given  twice  a  week  by  an  eminent  Professor 
on  the  History  and  /Esthetics  of  Music,  and  the  science  of  Acous- 
tics, with  experiments.     So  much  for  the  theoretical  course. 

4 


74  MUSICAL   CONSERVATORY. 

"  In  the  practical  branch  also,  instruction  is  given  in  classes. 
No  limited  course  can  be  prescribed,  however,  as  everything 
here  depends  on  the  talent  and  industry  of  the  scholar.  The 
vocal  department  is  patronized  mainly  by  females,  and  for 
those  who  pursue  the  study,  exercises  in  Declamation  are  given, 
to  improve  their  pronunciation,  and  fit  them  for  the  stage.  The 
instruments  that  are  made  the  principal  object  of  study  are  of 
course  Piano  and  Violin,  and  each  student  is  obliged  uncondi- 
tionally to  devote  himself  to  one  or  the  other  of  these  two. 
The  violinists  are  exercised  in  Solo,  Quartet,  and  Orchestra  play- 
ing. The  organ  is  unfortunately  not  much  attended  to.  Those 
who  desire  to  learn  the  common  wind  instruments,  can  do  so 
by  paying  an  extra  fee,  though  it  does  not  form  part  of  the 
regular  course.  An  opportunity  is  afforded  to  those  who  par- 
ticularly excel  on  any  instrument  to  appear  at  some  public  per- 
formance, either  in  orchestra,  chorus,  or  solo. 

"  Besides  the  regular  exercises,  the  pupils  meet  together  one 
evening  in  the  week,  and  those  who  have  studied  any  work  to 
the  satisfaction  of  the  teacher  during  the  past  week,  perform  it 
for  the  benefit  of  the  whole  assembly.  These  soirees  are  at- 
tended by  the  friends  and  families  of  the  professors,  and  fre- 
quently by  distinguished  artists  who  are  visiting  the  city.  As 
for  instance,  the  past  fortnight,  the  students  have  been  inspired 
by  the  presence  of  the  first  of  living  German  composers,  Dr. 
Robert  Schumann.  He  has  twice  honored  these  assemblies 
with  his  presence,  and  several  of  his  compositions  were  per- 
formed in  his  hearing,  at  which  he  evinced  great  satisfaction. 
His  wife  also  accompanied  him,  and  played  several  pieces. 
This  lady  (formerly  Clara  Wieck)  ranks  among  the  first  pian- 
ists of  the  day,  and  certainly  stands  at  the  head  of  those  of  her 
sex. 

"  Two  examinations  are  held  every  year,  one  a  private  one, 


ITUSICAL   CONSERVATORY.  75 

at  which  the  pupils  are  classified  according  to  the  progress  they 
have  made, — and  one.  a  public  exhibition  or  concert,  at  which 
the  more  advanced  only  are  allowed  to  appear,  either  as  com- 
b  or  performers.  The  privilege  of  attending  the  rehearsals 
of  the  series  of  concerts  that  is  given  every  winter  in  the  '  Ge- 
wandhaus,"  as  well  as  of  most  others,  is  also  afforded  to  the 
pupils. 

u  The  government  of  the  institution  is  entrusted  to  live  gen- 
tlemen, who  are  professed  admirers  of  the  art.  and  who  discharge 
their  office  without  compensation.  The  discipline  is  by  no 
means  more  strict  than  every  scholar  who  zealously  engages  in 
the  study  of  music  would  willingly  submit  to.  The  regulations 
are  very  simple,  viz. :  that  the  scholars  shall  attend  regularly 
the  exercises,  appear  at  no  public  performance  without  special 
.  and  in  general  conduct  themselves  orderly  and  submit  to 
the  direction  of  the  Government  of  the  Institution.  Each  pupil 
on  leaving  the  Conservatory,  receives  a  testimonial  or  degree, 
stating  his  time  of  study  and  his  comparative  proficiency  in 
he  art. 

wAs  was  said  above,  the  expense  is  comparatively  trifling, 
and  within  the  means  of  almost  every  aspirant  for  musical 
knowledge.  A  fund  has  been  given  by  the  King  of  Saxony,  by 
which  a  limited  number,  whose  means  will  not  otherwise  allow 
it.  can  be  educated  free  of  expense. 

"The  professors  of  the  Institution  are  such  as  enjoy  a  univer- 
sal reputation,  and  are  many  of  them  of  Mendelssohn's  own 
selection  and  appointment.     Among  them  are  Moschkj 
structor  of  the  Piano,  David,  of  the  Violin,  and  II.u  ptmann,  of 
Harmony. 

••Such  are  the  main  features  and  advantages  of  this  s. 
of  musical  instruction.     It  were  to  be  wished  most  heartily,  by 
all  lovers  of  music,  that  such  an  Institution  could  be  founded  in 


MUSICAL   CONSERVATORY.  76 

every  large  city  of  our  own  country.  The  rapidly-growing 
taste  of  our  good  people  seems  to  demand  some  such  effort,  and 
from  present  appearances  we  may  certainly  encourage  the  hope. 
Objections  have  been  made  to  the  system  of  instruction  in 
classes,  but  these  are  equally  applicable  to  other  studies  as  well 
as  music.  To  be  sure,  where  a  pupil  in  a  private  lesson  receives 
the  undivided  attention  of  his  instructor  for  the  space  of  an  hour, 
in  the  class  he  receives  individually  only  a  fraction  of  the  same. 
But  this  comparatively  trifling  evil  is  more  than  counterbalanced 
by  the  advantages,  as  we  have  above  hinted.  The  pupil  be- 
comes acquainted  with  many  different  styles,  sees  the  beauties 
and  the  faults  of  each,  and  is  imperceptibly  led  in  this  way  to 
the  formation  of  his  own.  Again,  by  being  constantly  compelled 
to  perform  before  others,  he  cannot  fail  to  acquire  a  degree  of 
confidence,  which  is  beneficial  and  necessary  to  every  public 
performer.  How  often  do  we  see  an  instance  of  a  private  pupil, 
when  summoned  unexpectedly  to  an  exhibition  of  himself,  com- 
pletely thrown  off  his  guard  by  the  presence  of  an  assembled 
company,  and  so  far  from  doing  himself  justice,  making  a  total 
failure.  If  time  admitted,  we  might  enumerate  many  other 
advantages,  to  the  truth  of  which  we  can  testify  from  personal 
experience.  As  it  is,  for  the  present,  our  word  must  be  taken 
for  it,  and  we  can  only  conclude  with  the  hope,  that  the  little 
insight  we  may  have  given  into  the  system  and  zeal  with  which 
exertions  are  made  in  Europe  in  the  cause  of  this  absorbing 
study,  may  be  of  some  slight  assistance  in  stimulating  our  mu- 
sical countrymen  to  similar  endeavors." 

The  foregoing  will  be  read  with  interest,  especially  by  such 
young  men  as  are  thinking  of  fitting  themselves  for  the  musical 
profession.  The  time  is  past  when  one  can  expect  to  succeed 
well,  who  takes  up  music  and  pursues  it  professionally  without  a 


EXPENSE   OF  LIVING.  77 

suitable  previous  preparation.  It  is  not  necessary,  indeed,  that 
all  teachers  should  be  learned  musicians  ;  many  excellent  teach- 
ers in  different  musical  departments  there  may  be,  who  have 
made  but  little  progress  in  musical  science;  but  still  we  need 
such  as  shall  be  able  to  pursue  musical  investigations,  and  give 
tone  to  the  general  character  of  American  music.  Such  we 
shall  have  when  men  like  Willis,  Parker,  and  others  whom  we 
might  mention,  devote  themselves  to  the  work. 

In  addition  to  what  Mr.  P.  has  said,  we  will  remark  in  rela- 
tion to  expense,  that  it  will  cost  a  man  about  as  much  to  live 
in  Leipzig  a  year  as  it  will  to  live  in  Boston  or  New  York  a 
year.  One  may,  perhaps,  live  somewhat  cheaper  here,  but  this 
is  not  realized  often.  And  the  young  men  who  come  here  gen- 
erally find  the  expenses  considerably  more  than  they  had  bees 
led  to  expect.  Some  live  on  four  hundred  dollars,  more  expend 
six  hundred,  and  it  is  not  safe  for  one  who  has  been  accustomed 
to  city  life  in  the  United  States,  and  who  intends  to  attend  the 
concerts,  (which  is  quite  necessary,)  to  make  his  calculations  to 
get  along  with  less  than  about  eight  hundred  dollars  per  annum ; 
and  then  he  must  not  be  disappointed  if  he  finds  himself  minus 
say  two  hundred  dollars  at  the  end  of  the  year.  But  if  a  man 
has  tried  it,  and  finds  that  he  can  live  on  five  hundred  dollars 
per  annum  in  New  York,  then  he  may  safely  conclude  that  the 
same  sum  will  answer  his  purposes  in  Leipzig,  or  other  German 
cities. 

In  addition  to  the  names  of  Professors  given  by  Mr.  P.  we 
will  add  the  following,  all  of  whom  are  to  a  greater  or  let 
tent  connected  with  the  Conservatory  :  Richter,  Rietz,  Pap- 
peritz,    Plaidv.    \Yenzel,    Beckeh,    Dreyschock,    (violinist,) 
Herrmann-,  and  Klengel. 

Success  to  the  young  men  of  America,  who,  having  the  neces- 
sary talent,  shall  devote  themselves  to  the  study  and  advance- 


78  GEWANDHAUS   CONCERT. 

merit  of  musical  science  and  art  in  our  land !  By-and-bye,  when 
we  shall  have  some  Mary  Lyon  to  devote  herself  to  the  work, 
we  shall  have  a  Conservatory,  with  the  buildings  all  erected 
and  paid  for,  like  the  Mount  Holyoke  School,  in  Massachusetts. 


LETTER   XVI. 

The  Nineteenth  Gewandhaus  Concert— Robert  and  Clara  Schumann— Madame  Tuczek- 
Herrenburg  of  Berlin. 

Leipzig,  March  19,  1852. 

The  presence  of  Robert  and  Clara  Schumann  was  enough  to 
attract  a  large  audience.  Anticipating  this,  our  company,  con- 
sisting of  three  persons,  went  a  little  before  the  time  appointed 
for  the  opening  of  the  door  ;  but  yet  we  found  a  crowd  gather- 
ed ;  the  room  filled  immediately  as  the  door  was  opened,  but 
we  succeeded  in  obtaining  good  seats.  We  had  now  to  wait  a 
full  hour  before  the  music  commenced,  but  in  the  midst  of  such 
a  multitude  of  good-looking  and  well-dressed  ladies  and  gentle- 
men, all  in  conversation  in  loud  and  merry  voices,  it  soon  passed 
away.  Half  an  hour  before  the  commencement,  the  oboe  was 
heard,  running  the  scales,  &c.  ;  this  was  soon  followed  by  fag- 
gotli,  corni,  clarionetti,  and  strings  ;  every  man  tuning  and  get- 
ting his  instrument  and  his  fingers  in  readiness.  Mendelssohn 
seemed  to  look  down  from  his  bust  immediately  opposite  the 
orchestra  with  approbation.  At  half-past  six  precisely,  Kapel- 
meister  Rietz  takes  his  stand — the  signal  is  given — every  one 
is  silent  and  attentive,  and  Beethoven's  overture  (op.  124)  fills 
the  whole  company  with  delight.  This  is  a  very  pleasing  over- 
ture ;  it  is  less  learned,  but  of  a  more  popular  character  than 
most  of  Beethoven's.     It  is  often  marked  with  a  rhvthm  like 


SCHT  MANNS   SYMPHONY.  79 

the  music  of  the  march  or  dance ;  and  the  flourishes  of  the 
hnaB  instruments  and  drums  almost  lead  one  to  suppose  that 
he  is  listening  to  a  military  band.  But  still  the  hand  of  the 
master  is  seen,  and  although  Beethoven  comes  down  and  freely 
holds  conversation  with  the  people,  yet  he  always  preserves  his 
dignity,  and  never  dishonors  his  profession  in  this  pleasing  com- 
position. 

A  very  good  singer  followed  ;  Frau  Leopold  in  e  Tuczek-Her- 
renburg,  from  Berlin,  in  a  Recitative  and  Arie  from  the  opera 
of  "  Sylvana,"  by  C.  Maria  von  Weber. 

This  was  followed  by  a  grand  Concerto  for  the  Piano  Forte, 
with  orchestral  accompaniment  (G  moll),  composed  by  J.  Mos- 
chelles,  and  played  by  Clara  Schumann.  I  have  already  spoken 
of  Madame  Schumann's  playing ;  her  performance  of  tins  Con- 
certo was  perfect,  and  received  the  warmest  approbation  from 
the  audience. 

An  air  of  De  Beriot  followed,  by  Frau  Tuczek-Herrenburg ; 

after  which  Madame  Schumann  played  most  charmingly  a  Xot- 

turno  (B.  major)  for  piano  forte,  by  F.  Chopin.     In  this  she 

encored,  and  played  in  answer  to  the  call  another  piece 

unknown  to  the  writer. 

The  second  part  of  the  concert  was  that  in  which  the  musical 
ones  were  most  deeply  interested,  for  it  consisted  of  Robert 
Schumann 's  new  Symphonic  This  has  not  been  published,  and 
was  played  from  manuscript,  conducted  by  the  author,  who  was 
cordially  greeted  on  his  appearance  at  the  head  of  the  orches- 
tra. It  is  undoubtedly  a  work  of  great  merit ;  but  it  is  truh 
a  great  work,  and  can  only  be  performed  by  a  very  thoroughly 
trained  band.  Its  analogies  and  correspondencies  are  deeper 
and  more  hidden  than  in  Mozart  or  Beethoven, but  nevertheless 
they  arc  there,  and  can  be  discovered  to  some  extent  even  at  a 
first  hearing.    The  Symphonic  consists  of  five  movements,  there 


80  MUSIC    HALL. 

being  in  addition  to  the  usual  movements  a  short  adagio  (fourth) 
introduced.  In  the  second  movement  (scherzo),  there  is  play- 
fulness and  relief,  but  throughout  the  whole  the  idea  of  great- 
ness prevails  ;  so  much  so  as  almost  to  oppress  one  with  a  feel- 
ing of  grandeur  and  sublimity.  The  fourth  movement  espe- 
cially seems  to  partake  in  the  highest  degree  of  this  character, 
and  stirs  up  the  deep  feelings  to  awe  and  reverence.  But  vain 
is  any  attempt  at  description,  especially  by  one  who  has  heard 
it  but  at  a  single  performance.  It  was  played  with  great  ener- 
gy ;  every  member  of  the  orchestra  had  enough  to  do.  The 
captain  inspired  confidence,  and  the  result  was  most  satisfac- 
tory. There  was  but  a  momentary  pause  between  the  parts, 
and  in  this  respect  the  learned  conductor's  example  is  well 
worthy  of  imitation.  The  Symphonie  occupied  thirty-three  min- 
utes in  its  performance,  and  at  half-past  eight  the  concert  closed. 


LETTER    XVII. 


Dedication  of  the  Music  Hall  of  the  "Thomas  School"— M.  Hauptraann— Chorus 
Singing. 

Leipzig,  March  22,  1852. 

The  "  Thomas  School"  is  connected  with  the  Thomas  Church ; 
and  the  choir  of  the  latter  is  obtained  from  it.  John  Sebastian 
Bach  was  formerly  Music  Director  here ;  and  he  has  been  suc- 
ceeded by  several  distinguisned  men.  The  present  incumbent 
is  M.  Hauptmann,  who  is  also  Professor  of  Harmony  in  the 
Conservatory.  The  place  was  procured  for  him  by  Mendels- 
sohn, with  whom  it  was  a  favorite  object  to  gather  around  him 
men  of  science,  and  Hauptmann  most  deservedly  ranks  among 


HAUPTMANN.  81 

He  is  now  everywhere  known  as  one  of  the  most  pro- 
found theorists  living.     He  lias  also  published  Motets,  and  oth- 
er pieces  of  Church  Music,  which  are  held  in  high  estimation  by 
musicians.    But  there  is  something  more  attractive  about  Haupt- 
mann than  either  genius  or  learning ;  it  is  amiability.    lie  Beems 
to  be  filled  with  kindness,  gentleness,  and  courtesy ;  and  I  have 
met  no  German,  nor  indeed  any  one,  in  whose  presence  one  is 
made  more  perfectly  at  home,  and  by  whom  one  is  treated  with 
more  affability  and  attention  than  by  him.     Although  standing 
at  the  very  head  of  musical  science,  he  has,  as  yet,  published 
no  work  of  importance  on  harmony ;  he  says  that  he  waits  for 
more  experience,  so  that  when  he  publishes  a  book,  it  may  be 
of  some  value.     A  good  hint  is  this  to  some  of  us,  who  write 
and  publish  works  on  the  theory  of  music  in  the  United  States, 
without  knowledge  and  without  experience.    How  often  we  see 
verified  the  old  saying  (and  frequently  in  musical  productions), 
that  ;:  a  little  knowledge  is  a  dangerous  thing."    Hauptmann  is 
now,  however,  engaged  in  the  preparation  of  a  philosophical 
treatise,  which  he  intends  to  give  to  the  public  in  a  few  \ 
His  health  is  not  firm  ;  he  is  a  diligent  student,  and  bodily  in- 
firmity is  probably  the  result  of  severe  and  long-continued  men- 
tal labor.    He  is  very  popular,  and  is,  perhaps,  equally  respect- 
ed for  his  knowledge,  and  beloved  for  his  goodness.    He  called 
yesterday,  bringing  tickets  to  a  musical  performance,  on  the  oc- 
casion of  the  dedication  of  the  Music  Hall  of  the  School.    It  is 
not  indeed  a  new  hall,  but  an  old  one  repaired,  painted,  and  or- 
namented ;  it  is  in  the  same  house  where  Bach  lived,  and  is 
the  very  room  where  B.\cn,  Hiller  and  others  labored  and 
conducted  musical  performances.      Hauptmann  now  occupies 
the  same  apartments  which  were  formerly  occupied  by  the  great 
Fuguist.     The  exercises,  with  the  exception  of  a  short  address 
by  one  of  the  pupils,  were  exclusively  musical,  as  follow >  i 

4* 


82  SINGING  WITHOUT  ACCOMPANIMENT. 

I.  Prayer.     "  Kommt,  lasset  uns  anbeten." Hanptmann. 

II.  Motette.     "  Der  Geist  hilft  unserer  Schwachheit." J.  S.  Bach. 

III.  Four  part-songs  : — ■ 

1.  "  O  Thaeler  weit.  o  Hoehen." Mendelssohn. 

2.  "  O  sanfter,  suesser  Haucb" Mendelssohn. 

[The  above  may  be  found  in  the  "  Social  Glee  Book,"  and  have 
been  sung  in  the  Boston  Musical  Conventions.] 

3.  "  Waldeinsamkeit." Hanptmann. 

4.  "  Ich  stand  auf  Berges  Hoeben." :.? Hauptmann. 

IV.  Motette.    "  Jaucbzet  dem  Herrn." Schick*. 

The  singing  was  by  the  choir  of  the  school  and  church,  which 
consisted  of  about  fifty  voices ;  Soprano  and  Alto  by  boys.  It 
was  entirely  without  accompaniment.  A  grand  Pianoforte  in 
the  room  was  only  used  to  announce  the  pitch  before  each  piece. 
This  singing  most  difficult  music  without  accompaniment  is„ 
something  wholly  unknown  with  us  in  America.  I  know  fall 
well  that  there  are  choirs  and  Quartet  clubs  who  sing  compara- 
tively easy  music  in  public  without  accompaniment ;  but  even 
in  this,  what  is  often  the  result  1  Bach's  music  is  exceedingly 
difficult.  Handel,  in  comparison  to  Bach,  may  be  said  to  be 
easy ;  and  yet  our  choirs  could  but  few  of  them  sing  Handel 
and  sustain  themselves  well  without  instrumental  aid.  But 
here  is  a  chorus  who  stand  up  and  sing  Bach's  and  other  most 
difficult  motets,  the  most  difficult  vocal  music  perhaps  ever 
written,  by  voices  alone,  with  as  much  certainty  as  the  sure  aim 
of  an  experienced  marksman. 

I  think  I  have  never  before  witnessed  such  devotion  to  the 
work  as  in  these  singers.  Here  is  indeed  entire  self-committal. 
Every  one  throws  all  the  powers  he  has,  physical  and  spiritual, 
into  the  performance  of  the  music.  Every  tone  is  attacked 
with  a  conscious  certainty  of  success ;  no  matter  how  compli- 
cated the  rhythm,  it  is  given  with  an  energy  and  truthfulness 


CHORUS    SINGING.  83 

that  a  first-rate  violinist  can  hardly  excel.  The  singers  seem  to 
have  a  perfect  command  of  their  vocal  organs,  and  are  no 
certain  of  results  than  is  the  accomplished  pianist  when  he 
strikes  the  keys,  or  the  violinist  when  he  draws  the  bow.  There 
ia  an  entire  absence  of  that  sleepiness,  drowsiness,  inattention, 
and  foolish  levity  too  often  witnessed  in  onr  choirs.  No  look- 
ing about,  or  whispering,  or  laughing,  or  silliness ;  but  close  at- 
tention is  ever  manifested.  I  wish  I  had  words  to  point  out 
that  consecration  to  the  work,  that  deep,  heartfelt  interest  which 
these  choir  members  seem  to  possess;  so  that  it  might  be 
sought  for  by  our  American  singers.  But  we  cannot  obtain  it 
unless  we  use  the  appropriate  means  ;  education  only  will  do 
it ;  musical  training,  such  as  we  have  but  little  idea  of,  must 
go  before  ;  and  as  we  plant,  so  we  shall  reap  in  these  things. 
This  choir  is  drilled  daily ;  five  o'clock  is  the  hour  when  they 
come  together  every  day  for  their  lesson,  or  rather  their  train- 
ing and  practice.  For  so  far  as  I  have  had  opportunity  to  ob- 
serve, the  teaching  here  consists  mostly  in  training.  But  I 
must  not  enlarge.  I  have  never  before  heard  a  vocal  chorus  so 
prompt,  so  energetic,  and  perfect  in  time  and  tune,  as  on  this 
occasion.  The  place,  too,  was  holy  ground,  for  all  the  great 
musicians  have  visited  that  saloon ;  Bach  lived  there  as  his 
home,  and  Handel,  and  Haydn,  and  Mozart,  and  Beethoven 
have  been  there.  A  new  portrait  of  Bach  (or  rather  an  old 
one  put  in  perfect  order)  has  been  placed  at  the  head  of  the 
hall,  and  opposite  to  it  is  a  fine  bust  of  Schicht,  who,  though 
less  known,  was  a  very  profound  musician,  as  his  works  testify. 
On  the  whole,  I  have  not  attended  a  more  interesting  musical 
performance  in  Germany. 


84  DISTINCT  ARTICULATION. 


LETTER   XVIII. 

Distinct  Articulation  in  Singing— Congregational  Singing,  with  reference  to  the  utterance 
of  the  words. 

Leipzig,  March  29,  1852. 

The  importance  of  a  clear,  distinct,  tasteful,  and  appropriate 
delivery  of  the  words  in  vocal  music  cannot  be  too  strongly 
urged.  A  good  utterance  of  words  is  one  of  the  elementary 
technicals  in  singing  ;  as  much  so  as  is  tone,  intonation  or  time. 
Singing  combines  both  the  elements  of  speech  and  of  song,  and 
no  one  can  claim  to  be  a  vocalist  who  has  not  cultivated  as  well 
his  articulating  as  his  vocal  powers.  Teachers  of  singing 
should  urge  this  point  as  one  of  the  greatest  importance  ;  for, 
whatever  other  qualifications  one  may  possess,  he  cannot  be 
even  a  tolerable  singer  who  does  not  utter  his  words  with  dis- 
tinctness and  propriety  ;  and  no  one  sings  well  who  does  not  go 
further  than  this,  and  deliver  his  words  with  taste  and  elegance. 

But,  strange  as  it  may  seem,  while  this  is  a  point  of  so 
much  importance,  it  is  one  which  is  much  neglected,  and  one 
would  sometimes  think,  when  listening  to  an  untaught  choir, 
that  the  very  elementary  sounds,  or  powers  of  the  letters,  had 
not  been  learned.  Instead  of  the  clear,  open,  full  vowels  of  the 
language,  we  often  hear  strange  and  distorted  sounds,  which 
seem  to  belong  to  mere  animals  rather  than  to  men,  and  which 
give  to  a  chorus  a  feline  or  canine  character,  a  mewing  or  a 
howling  altogether  unworthy  of  the  human* voice.  And  the 
consonants,  too,  are  not  less  absurdly  misplaced  or  omitted. 
One  principal  reason  of  this  neglect  or  abuse  of  language  in 
singing  is  that  but  little  careful  instruction  has  been  given  in 
the  common  schools,  until  within  a  few  years,  in  elementary 
reading.  But  even  where  this  instruction  has  been  given,  a 
separate  and  distinct  attention  to  the  subject,  in  connection  with 


DELIVERY  OF  THE   WORDS.  85 

singing  Bounds,  is  necessary ;  for  we  have  sometimes  known 

ssors  of  elocution  (and  most  worthy  ones)  who  mad 
work  of  the  language  in  tlieir  attempts  to  utter  it  in  song.    We 
rejoice  to  know  thai  teachers  of  music  are  giving  this  Bubject 

more  attention  than  formerly.  At  the  Teachers'  Institutes  held 
in  Boston,  teachers  of  elocution  hare  been  employed  to  lecture, 
and  in   the  musical  conventions  held  in  different  parts  of  the 

country  instructions  are  given,  which,  if  followed  up  with  a 
suitable  practice  or  training,  must  lead  to  improvement.  But 
all  the  lectures  and  all  the  preaching  in  the  world  will  not  do 
without  careful  and  continued  training  ;  and  this  must  be  done 
under  the  direction  and  superintendence  of  one  who  is  capable 
of  doing  the  work.  If  ministers  or  school  teachers  could  be  in- 
duced to  exercise  our  choirs  in  reading  and  declamation,  we 
should  soon  witness  improvement.  Chanting  and  reading 
simultaneously  by  choirs,  are  recommended  as  valuable  exer- 
cises in  acquiring  a  good  articulation  of  words.  Than  this, 
there  is  no  more  important  subject  connected  with  singing- 
schools  and  choral  performance. 

Is  it  possible  to  articulate  words  with  as  great  distinctness  in 
song  as  in  speech  ?  Much  depends  upon  the  character  of  the  song. 
In  plain  chanting  we  think  it  can  be  done,  and  writh  equal  ease. 
In  tunes  of  very  simple  rhythmic  form,  of  a  melodic  compass  that 
is  quite  within  the  range  of  the  singer's  voice,  strictly  syllabic, 
and  favorable  as  to  movement,  or  length  of  tones,  we  think, 
too,  that  the  question  may  be  answered  in  the  affirmative.  If 
it  be  asked  whether  it  is  as  easy  for  a  choir  of  thirty  or  forty 
persons  to  articulate  their  words  as  they  may  be  articulated  by 
a  good  speaker,  then  we  may  answer  the  question  by  asking 
whether  it  is  easy  for  twenty  or  thirty  persons  to  read  a  hymn 
simultaneously,  so  that  the  words  can  be  heard  as  distinctly  as 
when  read  by  an  individual  I     Undoubtedly  it  is  much  more 


86  CHOIR  PRACTICE. 

difficult  for  a  choir  so  to  deliver  their  words  as  that  they  shall 
be  clearly  understood,  than  it  is  for  a  single  person  to  do  so. 
When  we  use  the  speaking  voice,  we  adjust  it  in  all  respects  to 
our  immediate  wants,  or  use  it  in  that  way  in  which  a  clear  ut- 
terance of  the  words  is  best  promoted  ;  but  in  song  we  are  not 
at  liberty  always  thus  to  use  the  voice,  for  here  a  melody  or 
tune  has  been  prescribed,  and  it  may  be  so  high  or  so  low  as 
to  make  it  exceedingly  difficult  to  connect  words  distinctly  with 
tones  ;  or  it  may  be  too  soft  or  too  loud  in  power,  or  too  quick 
or  too  slow  in  movement  for  this  end;  or  all  may  be  combined, 
and  length  and  pitch  and  power  present  an  insuperable  obstacle 
to  the  singer's  success. 

In  the  application  of  this  question  to  choir-singing,  and 
taking  into  view  the  nature  or  different  characteristics  of  the 
speaking  and  the  singing  tones,*we  should  reply  in  the  nega- 
tive. 

Two  inferences  follow : 

I.  Much  careful  practice  and  thorough  training  are  necessary 
to  enable  a  choir  to  sing  well.  The  St.  Thomas'  choir  in  this 
place,  meet  for  practice  every  day  at  Jive  o\loch ;  the  English 
cathedral  choirs  sing  together  the  service  once  in  the  forenoon 
and  once  in  the  afternoon  of  each  day.  We  cannot  expect 
then  that  any  choir  can  do  well  with  less  than  one  or  two 
thorough,  close,  protracted  drillings  in  a  week.  Choirs  must 
meet  for  practice,  and  really  practice  too,  if  they  would  speak 
their  words  well  in  song,  or  sing  well  with  respect  to  any  of 
the  essential  elements  of  vocal  music. 

II.  Such  tunes  should  generally  be  chosen  for  public  worship 
as  are  well  adapted  to  the  articulation  of  words ;  and  choirs 
should  not  be  willing  to  sacrifice  the  words  to  musical  effect. 
It  is  not  uncommon  for  congregations  to  desire  the  singing  of 
f  Tneg  in  which  the  parts  are  so  mixed  up  as  to  render  the  hear- 


CONGREGATIONAL  9LNGING  NOT  ARTISTIC.  87 

ingofthe  words  impossible,  and  then  Maine  the  singers  for  not 
speaking  the  words  plainly. 

Singers  should  strive  to  speak  the  words  plainly,  and  strive 
to  do  this  without  violating  the  laws  either  of  musical  or  elocu- 
tionary taste. 

We  do  not  believe  that  congregational  singing  can  ever  pre- 
vail unless  the  essential  elements  of  a  good  musical  perform- 
ance are  given  up.  That  is.  we  cannot  have  a  good  musical 
performance  (or  what  is  usually  understood  to  be  a  good  mu- 
sical performance)  in  connection  with  congregational  singing. 
History,  and  the  actual  state  of  things  now  existing,  tell  us  that 
such  a  general  state  of  musical  improvement  as  would  be 
necessary  for  this,  is  merely  ideal,  something  imaginative  only, 
and  not  to  be  realized.  We  have  heard  congregational  singing 
in  many  places  in  the  United  States — south,  and  west,  and  east 
— and  also  in  different  European  countries,  but  (to  say  nothing 
about  taste)  we  have  never  heard  it  where  the  musical  laws  of 
time  or  tune  were  observed ;  nor  have  we  ever  heard  it  where 
to  a  listener  all  would  not  be  confused  with  respect  to  the 
words.  No  two  persons  speak  the  words  alike,  or  precisely  at 
the  same  time,  both  latitude  and  longitude  arc  unknown,  and 
although  the  tide  of  rhythmic  form  forces  obedience  so  far  as 
to  cause  the  arrival  of  each  one  at  the  end  of  the  stanza  within 
hailing  distance  of  the  others,  yet  the  effect  is  almost  always 
quite  Babelian. 

From  this  view  of  the  subject,  or  looking  at  congregational 
singing  as  it  has  been,  is  now,  and  probably  will  be,  it  follows 
that  where  it  ])rcrails,  no  one  will  be  able  to  hear  the  words 
with  any  degree  of  certainty.  But  we  must  also  consider  that 
where  it  prevails  there  is  no  one  to  hear  the  words.  Every 
one  is  engaged  in  singing  for  himself,  and  has  nothing  apparent- 
l\   to  do  wTith  those  around  him.     To  be  sure  he  is  influenced 


88  IS   CONGREGATIONAL  SINGING  DESIRABLE? 

by  the  mass  of  tone,  but  of  this  he  is  at  the  time  unconscious, 
and  worships  as  an  individual.  As  there  is  no  one  to  listen  to 
the  words  then,  so  their  clear  enunciation  is  comparatively  un- 
important. 

This  is  also  equally  true  of  the  other  elements  of  good  sing- 
ing as  it  is  with  respect  to  the  words.  Everything  that  belongs 
to  taste  in  music  must  be  given  up  as  we  enter  the  very 
threshold  of  the  congregational  chorus;  and  even  time,  and 
tune,  and  the  articulation  of  tones  and  of  words,  cannot  be  ex- 
pected. 

But  if  such  be  the  fact,  is  congregational  singing  desirable  ? 
Go  with  me  to  the  Nicolai  Church  in  Leipzig,  and  look  down 
from  the  upper  gallery  upon  a  congregation  of  fifteen  hundred 
or  two  thousand  persons ;  see  them  with  hymn  books  open,  ap- 
parently unconscious  of  those  around,  listen  to  their  rough  and 
uncultivated  voices,  in  time  and  tune,  or  out  of  time  and  tune, 
joining  with  the  loud  pealings  of  the  deep  diapasons,  rolling 
through  the  arches  of  the  great  building,  and  filling  the  whole 
with  a  mighty  chorus  of  sound ;  mark  the  movings  of  your  own 
spirit,  and  you  will  not  need  an  answer  to  the  question  from 
another. 


LETTER    XIX. 


St.  Peter's  Church— Richter,  the  Organist— the  Tomb  of  Bach— Chorals  sung  at  St. 

Peter's. 

Leipzig,  March  24,  1852. 

This  is  said  to  be  the  oldest  church  in  Leipzig.  The  present 
edifice  which  stands  close  to  the  eastern  gate  of  the  city,  was 
erected  in  1507.     It  is,  I  should  judge,  about  120  or  140  feet  in 


ST.    PKTEB'S    CHURCH.  89 

length,  and  only  about  fifty  feet  in  width.  There  are  double  gal- 
-  on  each  Bide  of  the  house,  with  a  spaee  of  only  about 
twenty  feet  between  them  ;  besides  which  there  are  about 
twenty  private  boxes  or  apartments,  belonging,  as  I  suppose,  to 
distinguished  familea,  who  keep  them  looked,  opening  them 
only  tor  their  own  use.  After  the  reformation  the  building 
was  lor  a  long  time  unoccupied,  and  was  not  used  for  the  pur- 
poses of  worship  until  1710.  When  Napoleon  was  here,  and 
during  the  war  of  1812  and  1813  it  was  used  for  barracks,  and 
afterwards  as  an  hospital.  In  1810  public  worship  was  again 
resumed,  and  has  been  continued  to  the  present  time.  It  is  a 
Lutheran  church,  and  the  service  is  the  same  or  nearly  the  same 
as  in  all  the  other  churches.  The  musical  director,  Richter, 
Professor  in  the  Conservatorium,  is  the  Organist.  I  attended 
service  there  this  afternoon.  At  the  precise  hour  the  organ 
prelude  commenced ;  it  continued  two  minutes,  and  the  first 
Lied  immediately  followed.  There  was  no  introit,  or  intro- 
ductory motette  as  in  the  Nicolai  and  Thomas  churches.  The 
choir  consisted  of  three  boys  and  two  men  ;  and  beside  these, 
the  organist,  [mother  person  walking  about  in  the  organ  loft, 
and  myself  there  was  but  one  person  present — a  goodly  old 
lady  ;  so  that  when  the  service  commenced,  the  congregation 
in  fact  consisted  of  but  one  woman.  It  reminded  me  of  the 
clergyman  who,  when  he  had  no  one  present  but  the  clerk,  took 
the  liberty  to  alter  the  prescribed  form  of  the  service,  reading 
not  "  Dearly  beloved  brethren"  but  "  Dearly  beloved  Bor/er." 
was  an  occasion  then,  when  the  singing  was  indeed  congre- 
gaiional  The  members  of  the  choir  were  all  singing,  the  old 
lady  appeared  to  sing,  and  I  joined  the  general  chorus.  The 
organ  was  full  and  made  up  for  any  deficiency  of  vocal  power. 
I  observed  that  in  some  stanzas  the  voices  commenced  without 
the  organ,  and  sung  three  or   four  syllables,  when  they  were 


90  MUSICAL    ADAPTATION. 

joined  by  the  full  organ ;  though  in  some  other  stanzas  the 
voices  and  organ  were  simultaneous  in  their  commencement. 
This,  however,  can  have  nothing  to  do  with  that  which  we  some- 
times call  expression  or  the  adaptation  of  the  tune  to  the  differ- 
ent stanzas  of  the  hymn,  for  no  attention  whatever  is  paid  to  this 
subject  here  ;  there  is  no  variation  of  soft  and  loud,  but  every 
stanza  is  loud,  and  is  apparently  sung  and  played  without  the 
slightest  reference  to  the  principle  above  mentioned.  Indeed 
the  principle  of  adaptation  (as  generally  understood  by  us  in 
the  United  States),  seems  not  to  belong  to  the  Congrega- 
tional style  of  singing.  The  minister,  who  was  not  present 
at  the  commencement  of  the  service,  came  in  during  the 
singing  of  the  last  stanza,  faced  the  cross  upon  the  altar  for 
a  few  moments,  and  then  turning  towards  the  people  (by  this 
time  numbering  perhaps  between  twenty  or  thirty),  he  com- 
menced the  responsive  chanting  service.  His  first  sentence 
is  confined  to  about  half  a  dozen  words,  which  are  given  in  the 
tones  three  and  five  of  the  scale ;  this  being  responded  to  by 
the  choir,  the  minister  chants  quite  a  long  sentence,  after  which 
the  choir  respond  Amen.  The  response  closed  upon  five  of  the 
scale,  ascending  to  it  by  the  sharp  four — thus  five,  three,  sharp 
four,  five.  After  this  the  minister  read  about  two  minutes — 
the  people  rising.  This  was  followed  by  the  organ,  and  an- 
other hymn.  The  minister  retired  the  moment  he  had  finished 
reading  (prayer)  and  was  not  present  during  the  singing  that 
followed  ;  but  at  the  close  of  the  hymn,  as  before,  he  came  in 
and  read  a  scriptural  lesson ;  again  he  retired,  and  again  the 
organ  announced  another  choral.  By  this  time  some  fifty  or 
sixty  persons  had  assembled,  and  they  succeeded  in  raising 
quite  a  chorus.  At  the  close  of  the  last  stanza  the  minister  ap- 
peared, not  at  the  altar,  but  in  the  pulpit,  and  after  half  a  dozen 
words  of  prayer,  commenced  his  sermon.     And  now  the  choir, 


ST.   JOHN'S    CHURCH. 


91 


three  boys  and  Uco  men,  took  their  turn  in  going  out ;  as  the 
minister  seemed  to  have  nothing  to  do  with  their  part  of  the 
service,  so,  I  suppose,  they  were  alike  relieved  -when  he  began 
to  preach.  Considering  myself  by  profession  and  long  habit  as 
more  nearly  allied  to  choristers  than  preachers,  and  especially 
as  I  could  not  understand  what  was  said,  and  as  I  could  retire 
without  being  noticed,  and  without  disturbing  others,  I  followed 
their  example. 

Last  Sabbath  I  attended  church  at  St.  John's,  an  old  building 
a  little  way  out  of  the  city ;  but  the  service  was  the  same. 
Around  this  church  are  many  old  monuments,  and  in  the  cem- 
etery was  buried  John  Sebastian  Bach.  The  exact  place  of  his 
interment  is  not  known. 

That  your  readers  may  have  a  more  exact  idea  of  what  the 
tunes  are  which  are  sung  here,  (and  they  are  all  of  the  same 
character.)  I  send  you  a  copy  of  two  which  I  heard  at  St.  Peter's 
this  day.  They  are  sung  in  slow  time,  pausing  on  the  last  note 
of  each  line. 

WIE    SCHON    LEUCHTUHB    DER    MORGENSTERN. 


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LETTER    XX. 


Concert  by  the  Pupils  of  the  Conservatory— Original  Overtures  by  the  Pupils. 

LEiPziG,April  2,  1852. 

Last  evening  the  saloon  of  the  Gewandhaus  was  crowded  to 
listen  to  the  pupils  of  the  Conservatory.  Concerts  are  occa- 
sionally given,  perhaps  once  a  quarter,  or  once  in  six  months, 
under  the  direction  of  the  Professors,  in  which  the  pupils  give 
specimens  of  their  proficiency  in  the  composition  and  in  the 
performance  of  music,  vocal  and  instrumental.  The  weather 
was  very  unfavorable ;  but  notwithstanding  the  rain,  the  house 


PUPILS1    CONCERT.  93 

was  crowded :  indeed  some  persons  could  not  find  admission. 
Tickets  are  not  sold,  but  are  given  away  by  the  teachers  and 
pupils  to  their  friends.  The  orchestra  at  such  times  is  in  part 
made  up  of  the  pupils,  deficiencies  being  supplied  by  professors 
employed  fur  the  occasion ;  of  course  they  have  an  efficient 
band.  David  and  Dreysciiock  were  at  the  head  of  the  violins. 
Moscheles  conducted  the  pianoforte  pieces  ;  David  conducted 
the  violin  concertos ;  Reitz  conducted  the  songs ;  Riciiter  con- 
. ducted  the  chorus  music,  and  the  respective  authors  themselves 
conducted  the  overtures.  There  were  two  original  overtures 
performed : 

I.  Overture  for  Orchestra,  composed  by  W.  Frederic  Xicolai,  of  Ley- 

den,  Holland. 
IL  Overture  for  Orchestra,  composed  by  Heixricii  vox  Sahr,  of  Dresden, 
Saxony. 

Both  of  these  overtures  were  highly  creditable  to  the  young 
men.  and  were  well  received ;  the  last,  perhaps,  being  the  most 
meritorious  production.  The  other  music  consisted  of  selections 
from  various  authors,  as  follows  : 

TIAXO    FORTE    MUSIC. 

L  Concerto  for  Piano  Forte  with  Orchestra,  by  Beethovex,  (C  Minor, 
first  part,)  performed  by  Wilheim  Gerbig,  of  Almelo,  Holland. 

II.  Trio  for  Piano  Forte,  Violin,  and  Violoncello,  by  Mendelssohn,  (Xo.  2, 

C  Minor,)  performed  by  three  pupils,  Fraulcin  Laura  Boerngen,  of 
Verden,  Hanover;   Herr   F.   George  Haubold,  of  Leipzig;  and 
Herr  Gruetzmacher. 
111.  (irand  Sonata  for  Piano  Forte,  (F  Minor,  op.  54,)  by  Beethoven,  per- 
formed by  Fraulcin  Rosalie  Hirschficld,  of  Danzig. 

VIOLIX    MUSIC. 

L  Concerto  for  Violin  with  Orchestra,  by  Molique.  (A  Minor,  Xo.  5, 
first  part,)  performed  by  Herr  George  Japha,  of  Koenigsberg, 
Prussia. 


94  PUPILS'   CONCERT. 

II.  Military  Concerto  for  Violin,  with  Orchestra,  by  Lipinski,  (first  part,) 

performed  by  Herr  Cavl  Hahn,  Nuremberg, 
III.  Introduction  and  Variations  for  Violin,  "with  Orchestra,  by  David,  per- 
formed by  Herr  Wilhelm  Langhanns,  Hamburg. 

VOCAL   MUSIC. 

I.  Aria,  from  Stradella,  sung  by  Fraulein  Anna  Masius,  Leipzig. 
II.  Aria,  by  Rossini,  (Barber  of  Seville,)  sung  by  Fraulein  Marie  Kuehne, 

Magdeburg. 
III.  Recitative  and  Aria,  from  Figaro,  by  Mozart,  sung  by  Fraulein  Marie 
Grohmann,  Magdeburg. 

CHOIR   MUSIC. 

The  137th  Psalm  for  Soprano  Solo,  Choir  and  Orchestra,  by  E.  F.  Richter. 

Such  was  the  music  of  the  school  exhibition,  and  it  was  in  all 
respects  highly  creditable  to  the  institution.  The  students  are 
from  various  parts  of  Germany  and  England ;  and  for  the  last 
few  years  America  has  also  been  represented.  Such  an  institu- 
tion is  much  needed  in  our  country.  A  Conservatory  of  Music 
upon  a  proper  basis,  and  under  suitable  regulations,  would  do 
much  for  the  advancement  of  a  pure  style,  and  correct  taste. 
It  would  be  to  music  what  the  Normal  Schools  are  to  education 
generally ;  would  raise  the  standard  of  musical  education,  and 
the  qualification  of  music  teachers ;  and  put  forth  an  influence 
in  many  ways  to  promote  the  cause  of  secular  and  sacred, 
vocal  and  instrumental  music  in  the  land. 


SCHUMANN   AND    MENDELSSOHN.  95 

LETTER  XXI. 

Mendelssohn  and  Robert  Schumann. 

Berlin,  April  5,  1852. 

In  a  recent  number  of  one  of  the  musical  papers  in  New  York, 
Robert  Schumann  is  said  to  be  an  imitator  of  Mendelssohn.  A 
strange  charge,  indeed,  and  one  that  could  not  be  made  by  any 
who  had  heard  some  of  the  principal  productions  of  the  two 
writers. 

These  two  original  composers  have  both  established  schools 
of  their  own ;  quite  unlike  each  other,  or  any  one  else.  Robert 
Schumann  is  a  little  the  older  of  the  two,  though  they  were 
contemporaneous  for  many  years,  or  during  the  whole  of  Men- 
delssohn's professional  life. 

It  is  said  they  were  always  intimate  and  friendly,  although 
each  one  had  his  friends ;  and  these  friends  of  the  parties  of 
course  differed  with  respect  to  the  merits  of  the  two  composers ; 
but  we  believe  that  neither  was  ever  charged  before  with  being 
an  imitator  of  the  other.  If  there  has  been  any  original  com- 
poser of  music  in  latter  times  ;  one  who  has  penetrated  farther 
into  the  unexplored  region  of  harmony  than  any  other,  that  man 
is,  we  suppose,  Robert  Schumann.  At  least  he  has  this  repu- 
tation among  some  of  the  most  learned  musicians  of  Germany. 
He  is  quite  unlike  all  other  composers,  and  while  he  has  imita- 
tors and  Mendelssohn  has  imitators,  it  cannot  be  said  in  truth 
of  either  of  these  distinguished  men.  that  he  is  an  imitator  of  the 
other.  As  well  might  it  be  said  of  Shakspeare  that  he  i-<  an 
imitator,  or  of  Milton,  as  of  Schumann.  Both  as  it  respects 
form  and  harmony,  these  authors  differ  widely.  "Who  that  has 
ever  listened  to  a  symphony  by  Schumann  would  compare  it 
to  a  like  composition  of  any  other  writer  I     Surely,  no  one. 


96  SCHUMANN   AND   MENDELSSOHN. 

The  difference  between  Schumann  and  Mendelssohn  has  been 
the  subject  of  no  few  criticisms  and  discussions ;  but  all  truly 
learned  musicians  acknowledge  that  they  not  only  walk  in  a 
new  path,  but  that  they  both  are  truly  original — investigators 
of  nature — searchers-out  of  things  not  before  discovered — ad- 
vancers of  scientific  knowledge.  Robert  Schumann  is  generally 
regarded  as  the  more  deep,  and  difficult  of  interpretation.  Men- 
delssohn, indeed,  was  not  understood  at  first ;  but  he  is  now 
well  known.  So  too  of  Beethoven,  some  of  whose  works  are 
mysterious  even  to  this  day.  It  also  requires  such  a  well 
trained  and  talented  orchestra  to  represent  Robert  Schumann 
as  is  not  everywhere  found ;  and  even  when  he  is  interpreted 
by  an  orchestra  fully  competent  to  the  task,  with  all  the  hints 
that  he  himself  can  give  as  conductor,  the  best  musicians  cannot 
fully  comprehend  him  at  a  single  hearing.  Since  Mendelssohn's 
death,  Robert  Schumann  seems  to  stand  at  the  head  of  the  Ger- 
man school.  It  is  not  wonderful  that  a  disciple  of  Donizetti  or 
Verdi  should  not  like  Schumann,  or  that  a  child  should  not  re- 
ceive pleasure  from  the  reading  of  a  profound  and  learned  work ; 
it  is  not  surprising  indeed  that  Schumann  is  not  favorably 
received  by  many  good  musicians,  for  even  Beethoven  was 
rejected  for  many  years.  How  long  was  the  Philharmonic  of 
London  in  decyphering  his  ninth  %  Several  years,  to  say  the 
least.  One  should  be  careful,  and  be  certain  that  he  knows 
what  Robert  Schumann  is,  before  he  ventures  to  charge  him 
with  being  an  imitator  of  the  highly  gifted  and  talented  Men- 
delssohn, or  of  any  one  else.  That  Robert  Schumann  is  an 
original  composer,  a  musician  will  not  deny  ;  that  his  composi- 
tions are  not  designed  to  please  the  unlearned  in  music,  is  also 
true  ;  but  that  he  will  be  admired  whenever  he  is  truly  inter- 
preted, cannot  be  doubted. 


BERLIN.  97 


LETTER    XXII. 

Berlin— Wilhelm  Bach  Ojunphonh  OoMMtl  ami  Orchestral  Music— Military  Music— 
The  "Tod  Jesu"  by  Graun,  the  "Passion  Music"'  by  Bach,  and  the  "Seven  Words"  by 
Haydn. 

Berlin,  April  9,  IS32. 

This  is  one  of  the  finest  cities  of  Europe,  and  is  said  to  be 
one  of  the  four  most  splendid  cities  in  the  world.  Its  palaces, 
statues,  and  monuments,  including  those  of  Charlottenburg  and 
Potsdam,  are  magnificent ;  and  with  its  museums,  library,  and 
paintings,  are  full  of  historic  interest.  Frederick  the  Great  is 
everywhere  to  be  seen.  He  is  to  Prussia  what  Napoleon  is  to 
France  ;  his  name  is  on  the  tongue  of  every  child,  and  his  me- 
mory seems  to  be  even  more  sacred  here  than  is  that  of  Wash- 
ington in  America.  His  monument,  lately  erected,  at  an  ex- 
pense of  about  a  hundred  thousand  dollars,  is  regarded  as  the 
greatest  work  of  the  kind  of  modern  times.  Would  that  a 
similar  monument  to  the  memory  of  Washington  stood  in  each 
of  our  large  cities  in  America ;  its  moral  power  would  be  great 
and  good.  Drawings  of  it  are  everywhere  to  be  seen  ;  I  will, 
therefore,  only  remark  concerning  it,  that  in  one  of  its  group 
of  statues,  among  the  literary  and  scientific  men  of  the  age  and 
country,  as  Lessing,  Kant  and  others,  is  seen  that  of  Graux, 
well  known  to  the  musical  world.  Graux  is  honored  here,  as 
Bach  in  Saxony,  or  IIaxdel  in  England  ;  though  among  all  the 
names  of  German  musicians,  that  of  Bach  takes  rank,  perhaps, 
the  highest.  That  he  was  a  most  profound  writer,  and  that  his 
Fugues  especially  have  never  been  equalled,  is,  we  believe,  uni- 
versally admitted.  His  passion-  music  is  performed  at  thi 
son  of  the  year  in  the  principal  cities.  Baying  been  in  Berlin 
but  a  little  more  than  a  week,  and  at  a  time  when  there  is  less 
music  than  usual  (passion  week),  we  cannot  report  very  fully  ; 


98  WILHELM  BACH. 

but  we  must  not  omit  to  tell  our  musical  friends  of  some  of 
the  things  we  have  heard  or  seen. 

Wilhelm  Bach,  now  probably  nearly  seventy  years  of  age, 
is  of  the  family  of  the  famous  John  Sebastian,  of  whom  he 
has  several  interesting  relics.  He  has  long  been  a  music-direc- 
tor in  Berlin,  and  one  of  the  finest  organists  in  Germany.  He 
is  a  professor  in  a  school  for  church-music  here,  which  is  under 
the  patronage  of  the  government.  The  school  has  a  good  num- 
ber of  students,  although  other  institutions  which  have  more  re- 
cently arisen  have  drawn  considerably  upon  it.  We  called  upon 
Mr.  Bach  in  1837,  accompanied  him  to  the  school,  and  also  to 
the  church,  where  we  had  the  pleasure  of  hearing  him  play  the 
organ  for  nearly  an  hour.  We  remember  a  fine  compliment 
paid  to  Mr.  Bach  by  the  celebrated  organist,  John  Schneider, 
whom  we  afterwards  met  in  Dresden.  When  on  the  way  from 
Mr.  Schneider's  house  to  the  church  where  he  was  about  to 
play,  he  said,  "  I  will  play  for  you  some  of  Bach's  fugues." 
"  Thank  you,  sir,"  we  replied ;  "  we  are  always  delighted  to 
hear  these  charming  organ  pieces,  and  had  the  pleasure  a  few 
days  since  of  listening  to  several  of  them  as  performed  by  Wm. 
Bach,  of  Berlin."  "  So  ?"  said  Schneider  ;  "  if  you  have  heard 
Wilhelm  Bach  play  Bach's  fugues,  I  will  play  something  else, 
for  I  do  not  like  to  play  the  same  music  which  you  have  heard 
by  so  excellent  a  performer  as  he  is."  Mr.  Bach  is  not 
only  a  very  thorough  and  scientific  musician,  but  also  a  very 
gentlemanly  man.  He  had  a  perfect  recollection  of  our  former 
call,  and  was  as  ready  now  as  then  to  exhibit  his  old  manuscripts 
and  musical  curiosities,  and  his  conversation  was  filled  with  an- 
ecdotes and  historic  recollections  and  instruction.  It  was  pain- 
ful to  part  with  one  so  cheerful,  pleasant,  learned,  and  accom- 
plished, after  an  interview  of  one  hour,  feeling  almost  certain 
that  we  should  not  meet  again  on  earth. 


BERLIN   ORCHESTRA.  99 

We  had  an  opportunity  of  attending  only  one  Symphonic 
Concert,  or  "  Grand  Concert  Seriewe."  The  orchestra  was  not 
Urge  (three  contra-Bassea  with  other  instruments  in  propor- 
tion), yet  they  played  well,  and  gave  fine  character  to  the  Over- 
tures to  Don  Juan  l>y  Mozart,  Egmont  by  Beethoven,  Ruy  Blass 
by  Mendelssohn.  Jessonda  by  Spohr,  and  also  Haydn's  Sym- 
phonic, G  major  No.  3.  The  orchestra  of  the  Royal  Opera  House 
is  of  course  excellent,  and  ranks  with  the  best  in  Europe.  Yet 
We  did  not  sec  that  it  was  much  superior  to  that  of  the 
Leipzig  Gewandhaus.  It  is  somewhat  larger,  and*  its  pianos 
are,  perhaps,  more  piano,  and  its  fortes  more  forte.  The  great 
points  of  excellence,  as  quality  of  tone,  blending  of  the  differ- 
ent instruments,  Piano,  Forte,  Crescendo,  Diminuendo,  Sfort- 
zando,  Syncopation,  dec,  arc  most  perfectly  brought  out,  and 
the  most  fastidious  hearer  seems  to  be  compelled  to  say, 
nh. 

An  excellent  military  band  plays  daily  at  eleven  o'clock.  It 
contains  about  sixty  instruments,  and  we  were  truly  glad  to  see 
that  the  use  of  the  old-fashioned  military  band  instruments  is 
continued.  Here  were  Oboi,  Faggotti,  Clarinetti,  Corni,  as  well 
as  all  the  modern  brass  instruments.  The  band  usually  play 
an  overture  and  one  or  two  smaller  pieces  daily,  at  the  hour 
above  mentioned;  and  in  its  performances,  it  is  sufficient  to 
Bay,  that  the  characteristics  of  good  orchestral  playing  are  care- 
fully observed. 

Throughout  Germany  three  great  compositions  are  performed 
at  this  season  of  the  year.  Thus,  the  present  season  the  '"  Pas- 
sion Music"  and  the  "  Last  Seven  Words''  have  been  given  in 
Leipzig.  The  "Passion  Music"  and  the  "Tod  Jesu"  have  been 
performed  in  Berlin,  and  one  or  both  in  Dresden.  We  were 
so  unfortunate  as  to  lose  both  the  "Seven  Words"  and  the 
"Passion  Music, "  but  have  had  the  satisfaction  of  hearing  the 


100  "TOD  JESU"  BY   GRAUX. 

"  Tod  Jesu"  twice  in  Berlin.  It  is  a  learned  work,  not  design- 
ed for  amusement  merely,  but  rather  to  paint  with  a  deep  color- 
ing, the  death  scene  of  the  Saviour  of  the  world.  It  is,  in  gen- 
eral, too  serious  for  a  popular  audience.  "  It  is  quite  tedious," 
said  a  German  lady  to  me,  "  but  yet  it  is  very  grand."  It  does 
not  afford  sufficient  immediate  musical  gratification  for  many  ; 
indeed  it  appeals  to  a  higher  principle  than  that  of  the  mere 
sensuous, — even  to  the  religious  ;  and  to  appreciate  it,  one  must 
be  both  musically  and  religiously  educated  and  inclined.  Mod- 
ern musical  taste,  especially  in  our  country,  is  of  too  light  a 
character  for  Graun  or  Bach,  and  for  the  great  religious  works 
which  we  have  mentioned ;  and  then  again,  religious  emotion 
has  been  too  much  separated  by  our  educational  habits  from  a 
musical  form  of  utterance  or  expression ;  indeed,  the  nasal 
twang  of  an  uncultivated  voice  has  sometimes  been  regarded 
as  more  natural  and  appropriate  to  the  expression  of  religious 
feeling  than  the  most  pure  and  musical  tones. 

The  "  Tod  Jesu"  was  performed  on  Wednesday  by  a  choir 
and  orchestra  'under  the  direction  of  Julius  Schneider,  in  the 
Garnisonkirche ;  and  on  the  Friday  following  by  the  "  Sing 
Academie"  of  Berlin,  in  their  beautiful  Hall.  It  was  well  done 
on  both  occasions,  but  was  much  the  most  effective  in  the  "Sing 
Academie."  The  choir  was  in  excellent  order,  and  consisted 
of  about  two  hundred  vocalists ;  the  solo  singing,  though  not 
by  great  artists,  was  all  in  good  style  and  keeping,  and  the  or- 
chestra were  fully  adequate  to  the  work  they  had  to  do.  The 
recitatives  were  accompanied  by  the  pianoforte,  and  the  songs 
and  choruses  by  the  orchestra.  There  was  no  organ  on  either 
occasion,  and  I  find  that  it  is  not  common  to  unite  the  organ 
with  a  choir  performance.  If  an  orchestra  play  an  overture, 
they  are  not  supposed  to  need  the  support  of  an  organ,  and  if 
a  choir  sing  a  vocal  motette,  they  are  supposed  to  be  able  to 


EASTER  SUNDAY.  101 

sing  it  independent  of  instrumental  aid ;  so  that  the  organ  is 
seldom  heard,  except  when  it  is  telling  its  own  story,  or  sus- 
taining and  leading  along  the  great  congregation  in  the  choral 

Every  seat  was  occupied  ;  indeed  it  was  necessary  to  secure 
tickets  a  day  or  two  previous  to  the  performance.  The  king 
was  there,  and  both  the  sovereign  and  the  people  seemed  to  en- 
ter into  the  spirit  of  the  music.  The  house  was  perfectly  still, 
and  there  was  not  the  slightest  indication  of  applause  ;  not  he- 
cause  the  music  was  not  well  executed,  but  because  the  usual 
method  of  manifesting  approbation  seemed  to  be  inappropriate 
to  the  solemn  state  of  feeling  existing.  It  seemed  indeed  to  be 
an  occasion  of  deep  solemnity  ;  all  the  members  of  the  choir, 
male  and  female,  were  dressed  in  black,  so  that  an  appeal  was 
made,  through  the  eye  as  well  as  the  ear,  to  the  religious  sym- 
pathies in  view  of  the  sufferings  of  the  Son  of  God.  I  shall 
not  attempt  any  analysis  of  the  "Tod  Jesu."  With  the  excep- 
tion of  one  chorus,  and  Luther's  chorale,  it  is,  I  believe,  quite 
unknown  in  America  ;  the  chorus  to  which  I  refer  may  be  found 
in  the  t:  Boston  Academy's  Collection  of  Choruses  ;"  I  do  not 
remember  the  words,  but  it  has  been  very  popular  and  much 
sung,  and  is  the  only  piece  by  Graun  in  the  volume.  More  of 
Berlin  in  my  next. 


LETTER  XXIII 


Easter  Sunday— Music  in  the  Catholic  and  Protestant  Churches— The  Picture  Gallery- 
John  Schneider,  the  Organist. 

Drespes  April  1.'. 

Yesterday  being  Easter  Sunday,  we  were  awakened  at  early 

day-light  by  the  ringing  of  bells,  and  the  discharge  of  cannon. 
The  day  was  ushered  in,  much  in  the  same  manner  as  is  the 


102  DEESDEN. 

4th  of  July  in  America.  I  liked  the  music  of  the  bells,  but  the 
cannon  seemed  to  be  less  adapted  to  the  occasion.  At  8  o'clock 
I  attended  the  Frauen  Church,  a  very  large  circular  building, 
having  four  galleries  all  around,  and  in  some  five  and  even  six. 
The  Organ,  which  is  powerful,  stands  very  high  over  the  altar ; 
perhaps  thirty  feet  from  the  floor.  A  fine  introductory  volun- 
tary, full  of  joy,  was  played,  closing  with  a  very  lively  fugue; 
after  which  the  people  sang  a  chorale.  At  9  o'clock  we  went 
to  the  Kreuz-Kirche,  where  we  heard  an  ostercantate  with  full 
orchestra,  composed  by  Theodor  Weinlig.  It  was  brilliant  and 
joyful  as  can  be  imagined ;  the  trumpets  and  the  drums  being 
fully  employed  throughout.  At  11  o'clock  we  attended  the 
Catholic  Church,  where  Grand  Mass  was  performed ;  the  music, 
by  Hesse,  was  sung  by  a  very  good  choir,  accompanied  with  an 
efficient  orchestra.  It  was  brilliant  and  exciting,  and  occupied 
a  little  more  than  an  hour.  Both  the  cantate  at  the  Kreuz- 
Kirche,  and  the  Mass  at  the  Cathedral  were  well  done,  though 
far  inferior  to  the  performance  of  the  Dom-Chor,  Berlin.  In- 
deed, the  two  were  so  different  in  style  as  not  to  admit  of  com- 
parison. The  music  of  the  Berlin  choir  was  churchlike  in  its 
composition,  and  it  was  exclusively  vocal ;  whereas,  here  the 
music  was  of  the  modern  secular  character,  and  was  rather 
orchestral  than  vocal.  The  trumpets  and  drums  (with  other 
brass  instruments)  were  in  constant  requisition;  and  more 
brilliant  and  animating  flourishes  of  these  instruments  I  have 
never  heard.  The  whole  musical  performance  made  its  appeal 
to  lower  principles  of  taste,  than  did  the  singing  of  the  Dom- 
Chor.  That  was,  intellectually  and  tastefully  considered,  mu- 
sic of  a  high  order ;  whereas,  in  this  the  strains  were  more 
common,  adapted  to  the  popular  ear,  and  had  much  the  appear- 
ance of  mere  show  or  exhibition.  That  was  ecclesiastical,  relig-' 
ious  music;    this  was  was  secular,  like  that  of  most  of  the 


GALLERY   OF   PAINTINGS.  103 

productions  of  modern  composers  of  Masses,  Te  Deums.  and 
other  vocal  music  with  orchestral  accompaniment. 

The  itional  ringing  in  the  Kreuz-Kirche  was  excellent, 

that  is,  excellent  congregational  singing;  but  the  organ  was 
played  with  mighty  power,  and  without  variation  of  Piano  and 
Forte.  It  seemed  to  support,  bind  together,  and  lead  the  peo- 
ple, who  bore  a  somewhat  similar  relation  to  the  organ,  to  that 
which  a  large  factory  wheel  does  to  the  water  power  by  which 
Loved.  It  seemed  almost  to  take  away  from  the  people 
voluntariness  or  free  agency,  and  to  compel  them  onward  in 
their  song.  It  was  certainly  impossible  for  any  one  to  commit 
any  overt  act  of  sin  against  the  laws  of  time  and  tune,  during 
such  a  torrent  of  sound  as  that  which  the  organ  poured  forth. 
In  the  afternoon  we  heard,  in  the  Kreuz-Kirche,  an  ostercantate 
by  Berg,  and  a  fine  Te  Deum  by  Xaumann,  both  in  the  modern 
orchestral  style,  brilliant  and  dazzling.  It  was  a  day  of  pleasure, 
and  the  Concert-Gardens,  Opera,  and  other  places  of  amusement, 
were  well  patronized  in  the  evening. 

We  must  leave  our  readers  to  imagine  whether  feelings  relig- 
ious—of  gratitude  to  a  risen  Saviour,  or  those  of  a  more  worldly 
or  sensuous  character,  were  called  forth  by  the  scenes  of  the 
day.  It  seemed  to  us  somewhat  different  from  the  manner  in 
which  Paul  would  have  rejoiced  in  the  contemplation  of  the 
resurrection. 

The  Picture  Gallery  is  regarded  as  one  of  the  best  in  Europe, 
and  contains  choice  specimens  of  the  old  masters.  The  grand 
picture  of  the  collection  is,  the  Madonna  di  san  Sisto,  by 
Raphael  ;  but  there  are  many  line  pieces  by  Correggio,  T 

.   Reubens,  and  others  of  different  schools.     It  is  most 
sting  to  stand  and  gaze  on  the  works  of  those  great 
\  which  one  has  always  heard  and  read  ;  but  instead  of  the 
or  two  which  a  traveler  has  to  bestow,  months  and  years 


104  SCHNEIDER,    THE   ORGANIST. 

could  be  devoted  to  this  one  collection,  and  indeed  are  neces- 
sary to  any  proper  appreciation  of  such  works  of  art  as  are  here 
exhibited. 

Many  things  in  this  beautiful  city  are  well  worthy  of  atten- 
tion, some  of  which  we  visited ;  but  it  is  of  musical  things  only 
which  we  design  to  write. 

The  Opera  in  Dresden  is  good,  though  inferior  to  that  of 
Berlin ;  the  conductor  is  Carl  Krebs,  who  is  regarded  as  very 
able,  and  a  very  thorough  musician.  One  of  the  best  German 
Tenors  resides  here,  and  is  a  member  of  the  regular  opera  com- 
pany, viz. :  Herr  Tiehatscheck. 

No  lover  of  the  organ  should  pass  through  Dresden  without 
hearing  the  celebrated  John  Schneider.  He  is  an  organist  of 
the  old  school,  and  probably  no  one  ever  lived  who  had  a 
greater  command  of  the  instrument.  We  made  up  a  little 
party,  and  having  previously  called  on  Herr  Schneider,  went 
by  appointment  to  the  Sophrine-Kirche,  (the  church  of  which  he 
is  the  organist,)  where  we  had  the  pleasure  of  hearing  him  for 
a  little  more  than  an  hour.  He  played  five  of  the  fugues  of 
John  Sebastian  Bach — he  cares  not  to  play  other  music.  Bach 
is  his  musical  Bible,  and  he  has  read  him  so  much  that  he  has 
ceased  to  take  pleasure  in  inferior  or  uninspired  writers.  Bach 
is  musical  truth,  unmixed  with  error  j  it  is  really  interesting  to 
see  with  what  enthusiasm  his  works  are  spoken  of,  played,  and 
heard  by  the  German  Musicians.  Herr  Schneider  used  no 
fancy  stops,  made  no  see-sawings  with  the  swell,  no  contrasts 
of  reeds  and  dulcianas,  no  high-diddle-diddles  in  his  playing. 
His  appeal  is  always  to  the  intellectual  musician.  His  great 
point  of  excellence,  we  suppose,  is  his  legato  touch,  by  which 
the  chords  are  bound  together,  or  melted  into  one  continuous 
flow  of  harmony.  Would  that  our  young  organists  could  hear 
such  playing,  even  from  childhood  upward,  so  that  they  might 
be  "trained  up  in  the  way  in  which  they  should  go.'' 


THE   DOM-CHOR.  105 


LETTER  XXIV. 

The  Doin-Kiroho.  er  Cathedral— The  ban 

Berlin,  April,  If 

There  is  no  choir  of  music  in  Berlin,  and  perhaps  none  in 
the  world  equal  to  that  of  the  Dom-Kirche,  or  Cathedral.  This 
choir  is  very  celebrated  ;  it  is  the  same  choir,  a  part  of  which 
gave  concerts  in  London  in  the  summer  of  1851.  It  is  said  to 
be  even  better  than  the  far-tamed  choir  at  Rome.  We  attend- 
ed three  distinct  services  at  the  cathedral,  and  heard  the  choir 
each  time.  It  consists  of  about  fifty  singers ;  the  treble  and 
the  alto  parts  are  sung  by  boys.  It  is  arranged  in  double 
chorus,  and  the  music  of  the  old  composers,  in  eight  parts,  is 
often  performed ;  so  that  one  may  hear  Palestrina,  Lotti, 
Durante  and  others  of  the  Italian  school ;  Bach,  Grauu  and 
others  of  the  German  school,  together  with  the  best  modern 
authors.  We  infer  from  their  collections  of  music,  however, 
that  they  confine  themselves  almost  exclusively  to  the  ecclesi- 
astical style,  for  we  find  their  books  contain  nothing  in  the  man- 
ner of  Haydn's  or  Mozart's  hymns,  motets,  or  masses,  or  like 
other  modern  orchestral  vocal  music.  The  choir  is  entirely 
professional — that  is,  the  singers  are  such  by  profession  ;  they 
have  learned  to  sing,  and  that  is  their  business  or  calling. 
The  boys  who  sing  the  upper  parts  are  trained  daily,  and  are 
preparing  in  their  turn  to  be  professors,  teachers  and  composers 
of  music,  vocalists  or  instrumentalists,  here  or  elsewhere.  The 
parts  are,  of  course,  well  balanced  as  to  power,  and  the  chorus 
of  men's  voices  (tenors  and  basses)  singing  in  unison,  as  they 
often  do,  is  peculiarly  grand  and  effective.  In  addition  to  the 
regular  choir,  there  is  a  preparatory  department,  consisting  of 
some  twenty  or  thirty  fine-looking  little  boys,  of  from  eight  to 


106  CATHEDRAL    SERVICE. 

ten  years  of  age.  These  are  candidates  for  future  membership, 
and  form  a  juvenile  choir ;  they  stand  on  one  side  of  the  choir, 
and  lead  in  the  congregational  singing,  thus  affording  relief  to 
the  regular  choir,  and  giving  them  time  to  breathe  and  recruit. 
We  have  said  that  these  boys  stand;  this  is  equally  true  of 
others,  for  there  are  no  seats  in  the  organ-loft,  and  the  members 
of  the  choir  all  stand  during  the  whole  service.  The  various 
exercises  are  distributed  between  the  choir,  the  people,  and  the 
minister,  so  as  to  hold  the  attention  and  keep  all  employed. 
Those  parts  of  the  service  which  are  performed  by  the  choir,  or 
by  the  people,  are  sung,  and  the  part  belonging  to  the  minister 
is  read.  In  this  respect,  the  service  is  unlike  that  of  the 
Lutheran  churches  in  Saxony,  where  the  minister's  part  is 
chanted,  or  uttered  in  singing  tones.  The  musical  forms  of  the 
choir  performance  are  motets,  (anthems  they  would  be  called, 
perhaps,  with  us,)  short  responsive  sentences,  in  harmony  parts, 
or  unison,  or  a  plain  syllabic  chant,  with  Hallelujahs,  Hosannas 
and  Aniens.  The  poetic  forms  are  mostly  from  Scripture, 
though  sometimes  metrical  hymns  are  sung  by  the  choir,  but 
these  are  usually  sung  by  the  congregation.  The  musical  form 
of  the  congregation  is,  of  course,  that  of  the  chorale,  and  is  Old 
Hundredth,  St.  Ann's,  or  York-like.  The  congregational  tunes 
are  sung  much  slower  than  we  heard  them  in  England,  and 
about  the  time  similar  tunes  have  been  generally  sung  in  Ameri- 
ca. There  is  not  an  instant  during  the  service  that  is  unoccu- 
pied, one  exercise  following  another  without  the  least  pause,  so 
that  the  minister's  voice  seems  to  be  joined  on  to  the  choir  per- 
formance, or  to  the  organ,  or  vice  versa.  There  is  no  inter- 
ruption of  the  devotional  exercises,  by  rubrical  directions: — 
"Let  us  sing,"  "Please  to  sing,"  "  Omitting  such  and  such 
stanzas,"  or  by  reading  over  a  hymn  before  it  is  sung,  as  with 
us  ;  the  hymns  to  be  sung  are  known  the  moment  one  enters 


CATHEDRAL   SERVICE.  107 

the  church,  their  numbers  being  suspended  on  tablets  in  various 
i  >f  the  house,  so  that  they  may  be  seen  by  all ;  and  the 
particular  hymn  that  is  about  to  be  sung,  or  that  is  being  sung, 
i-;  known  by  the  tablet  in  front  of  the  organ-loft,  which  contains 
the  number  of  that  only,  so  that  any  one  coming  in  after  the 
service  has  been  commenced,  has  only  to  turn  his  eyes  towards 
the  choir-tablet,  and  he  knows  immediately  where  to  find  his 
place.  The  organ  is  not  played  when  the  choir  sing,  but  is  used 
only  for  voluntaries,  intermediate  responses,  interludes  or  trans- 
.  and  for  accompanying  the  congregation  when  all  unite  in 
the  song.  There  are  no  interludes  either  between  the  lines  of 
a  stanza,  as  in  Saxony,  or  between  the  stanzas,  as  with  us.  The 
fashion  of  organ-interludes  in  hymn-tunes,  seems  to  be  passing 
away ;  and  I  observed,  when  in  England,  that  they  were  but 
seldom  introduced  there. 

The  service  is  entirely  liturgic,  or  is  pre-composed,  no  pro- 
vision being  made,  that  I  could  perceive,  for  extemporar 
formanees.  Yet  the  same  liturgy  is  not  always  used,  but  there 
are  different  liturgies  for  different  occasions.  The  most  inter- 
esting service  I  attended  was  one  for  Passion  Week,  and  which 
was  used  twice  during  the  week.  There  was  no  sermon,  or 
anything  in  homiletic  form,  but  only  devotional  exercises,  in 
connection  with  Scriptural  readings.  The  time  occupied  was 
an  hour  and  twenty  minutes ;  and  of  this  I  should  judge  that  an 
hour  at  least  was  occupied  by  the  singing  exercises  of  the  choir, 
or  congregation,  and  only  about  twenty  minutes  by  the  read- 
ings (prayers  and  lessons)  of  the  minister ;  yet  the  minister 
stood  during  the  whole  service  in  front  of  the  altar ;  and  the 
whole  congregation  stood  also  during  most  of  the  service,  the 
king  himself,  who  was  present,  setting  the  example.  The 
organ-loft  is  in  a  gallery  immediately  back  of  the  altar ;  so  that 
the  congregation,  when  they  face  the  minister,  face  the  choir 


108  LITURGY. 

also.  As  I  think  a  more  definite  idea  of  the  service  will  be  ac- 
ceptable to  those  who  are  interested  in  such  things,  I  will  give 
a  detail  of  the  order  of  exercises  on  the  occasion  of  which  I 
speak : 

1.  A  very  short  organ  prelude,  of  perhaps  two  mirmtes. 

2.  Choir — Psalm  xliii.  (as  it  is  found  in  the  Bible)  "  Judge  me  0  God, 
and  plead  my  cause,"  &c.  This  beautiful  psalm  has  been  set  to  music  in 
the  motette  form,  by  Mendelssohn,  expressly  for  the  Dom-Chor,  and  it 
was  admirably  sung  without  accompaniment. 

3.  Congregation — Hymn.  The  instant  the  anthem  was  concluded,  or 
rather  on  the  chord  with  which  it  closed,  the  organ  commenced,  in  its 
loud  diapasons,  a  chorale,  in  which  all  the  people  (some  two  thousand  in 
number)  without  waiting  for  the  organ  to  play  over  the  tune  as  with  us, 
immediately  joined.  One  double  stanza  only  was  sung,  during  which  the 
minister  came  in  and  took  his  stand  in  front  of  the  altar. 

4.  Minister — Reading  a  single  verse  only  :  "  Behold  the  Lamb  of  God, 
which  taketh  away  the  sin  of  the  world."     (John,  i.  29.) 

5.  Choir — "  He  was  wounded  for  our  transgressions,  he  was  bruised  for 
our  iniquities,  the  chastisement  of  our  peace  was  upon  him,  and  with  his 
stripes  we  are  healed."  (Isa.  liii.  5.)  This  was  sung  to  most  beautiful 
music,  in  eight  vocal  parts,  composed  by  Otto  Nicolai,  of  the  old  Italian 
school. 

6.  Minister — "  The  Lord  be  with  you." 

7.  Congregation  and  Choir — "  And  with  thy  spirit." 

8.  Minister — Prayer. 

9.  Congregation  and  Choir — "  Amen." 

10.  Minister — Lesson  selected  from  the  Gospels,  entitled,  "  Jesus  in 
Gethsemane." 

11.  Choir — "  He  hath  borne  our  sins  and  carried  our  iniquities."  Music 
by  Graun. 

12.  Congregation — Metrical  Hymn. 

13.  Minister — Lesson  selected  as  before,  entitled,  "the  trial  of  Jesus." 

14.  Choir — Micah,  vi.  3,  4;  music  in  four  parts  by  Palestrina. 

15.  Congregation — "Holy  Lord  God,"  &a.,  and  "Kyrie  eleison." 

16.  Choir — Sentence  or  short  Motette,  in  a  chanting  style,  having  re- 
lation to  the  indignities  offered  to  Christ  on  his  trial. 


LITURGY.  109 

17.  Congregation — Same  as  15. 

18.  Minister — Lesson  selected  as  before,  entitled  "the  crucifixion  of 
Jeaua." 

19.  Choir — Metrical  Hymn,  beginning  "0  Lamb  of  God;''  music  by 
Juhann  Eccard  Moat  touching,  tender,  and  effective  waa  the  pianissimo, 
yel  creacendo  and  diminuendo  performance  of  this  single  stanza. 

20.  Congregation — Metrical  hymn,  single  stanza,  sung  to  the  famous 
old  German  chorale  with  which  ( i rami  commences  his  "Tod  Jesu." 

21.  Minister — "  And  Pilate  gave  sentence  that  it  should  be  as  they  re- 
quired." 

22.  Choir — "Father,  forgive  them,  for  they  know  not  what  they  do;" 
music  by  A.  Neithardt 

23.  Congregation — "  Lord  have  mercy  (or  have  pity)  upon  us." 

24.  Minister — Luke,  xxiii.  39-43,  beiug  an  account  of  the  malefactors 
crucified  with  Jesus. 

25.  Choir — "  To-day  shalt  thou  be  with  me  in  Paradise."   Music  unknown. 

26.  Congregation — Same  as  23. 

27.  Minister — John,  xix.  25-27.  The  mother  of  Jesus  standing  by  the 
cross. 

28.  Choir — "Woman,  behold  thy  son,"  and  to  the  disciples,  "Behold 
thy  mother  !" 

29.  Congregation — Same  as  23. 

30.  Minister — "  Now  from  the  sixth  hour  there  was  darkness  over  all 
the  land  until  the  ninth  hour  ;  and  about  the  ninth  hour  Jesus  cried  with 
a  loud  voice,  saying,  "  Eli,  Eli,  lama  sabacthani !" 

31.  Choir — "My  God,  my  God,  why  hast  thou  forsaken  me?"  This  was 
sung  very  softly  and  tenderly,  with  appropriate  expression,  and  appa- 
rently with  deep  emotion. 

32.  Congregation — "Christ,  thou  Lamb  of  God,  who  takest  away  the 
sins  of  the  world,  have  mercy  upon  us  !"  The  music  slow,  and  in  the  style 
of  a  chorale, 

33.  Minister — "  After  this,  Jesus  knowing  that  all  things  were  now  ac- 
complished, that  the  Scripture  might  be  fulfilled,  saith,  I  thirst."  (John, 
xix.  23.) 

34.  Choir— "Mich  dnratet,"  (I  thirst,)  moat  effectively  sung,  in  the  most 
simple  manner  possible,  to  the  music — 


110 


LITURGY. 


— <s>- 


-P — "§= 

i E: 


fin 


Mich 


stet. 


The  alto  and  tenor  may  be  easily  supplied. 

35.  Congregation — Same  as  32. 

36.  Minister — John,  xix.  29,  30,  concluding  with   "  he  bowed  his  head 
and  gave  up  the  ghost." 

37.  Choir — "  It  is  finished  !"     Music  simple,  soft,  and  touching,  as  before  : 


Dim. 


38.  Congregation — Same  as  32. 

39.  Minister — Luke,  xxiii.  45,  46. 

40.  Choir — "Father,  into  thy  hand  I  commit  my  spirit." 

41.  Minister — "  And  when  he  had  said  this,  be  bowed  his  head  and  died."' 

42.  Choir — A  single  stanza  of  a  metrical  hymn,  the  subject  of  which 
was  prayer  for  Christ's  presence  in  the  hour  of  death. 

43.  Congregation — A  stanza  in  continuation  of  the  previous  one  by  the 
choir. 

44.  Minister — Prayer  for  the  king  and  country. 

45.  Choir  and  Congregation — "  Amen,  Amen,  Amen." 

46.  Minister — The  usual  benediction.     (Minister  left.) 

47.  Choir  and  Congregation  sang  a  closing  stanza. 

Thus  there  were  in  this  service  forty-seven  exercises.     If  any 
one  should  think  the  detail  dull  or  uninteresting,  let  him  take 


THE  CHOIR.  Ill 

the  Bible,  turn  to  the  passages,  and  also  from  his  Hymn  Book 
select  similar  hymns,  read  them,  sing  them,  and  meditate  upon 
them  for  an  hour  and  twenty  minutes,  until  his  sympathies  are 
awakened  and  his  feelings  moved,  and  he  will  change  his  mind, 
and  say.  M  It  is  good  to  be  here.'1 

But  to  the  choir  again.  It  is  hardly  necessary  to  say.  that 
mbers  seem  to  be  perfect  with  respect  to  all  the  techni- 
cals of8inging,  such  as  the  formation  of  the  voice,  utterance  of 
words,  and  of  tone,  time,  tune,  pitch,  &c.  To  all  these  things 
they  have  been  trained ;  they  have  formed  correct  habits  with 
regard  to  them,  so  that  singing  out  of  time  or  tune,  falling  from 
the  pitch,  bad  tone,  or  inarticulate  delivery  of  words  or  of  tones, 
are  never  expelled,  thought  of,  or  heard,  and  certainly  would 
not  be  tolerated  for  a  moment.  They  have  a  regular  conductor, 
who  stands  in  view  of  all  the  members,  directs  the  time,  and 
indicates  such  other  things  as  are  usual  with  the  baton.  But  it 
is  not  only  with  these  preliminary  pre-rcquisites  that  the  mem- 
bers of  this  choir  are  familiar  ;  they  seem  to  know  what  belongs 
to  the  higher  departments  of  taste  and  expression,  and  in  their 
performances  they  make  such  a  practical  application  of  the  dy- 
namic degrees  and  tones,  as  to  bring  out  in  a  much  more  satis- 
factory manner  than  is  often  heard,  the  signs  of  a  deep  internal 
feeling ;  and  all  the  externals  seem  to  say  that  the  spirit  of 
worship  may  be  there.  We  do  not  mean  to  say  that  all  the 
people,  or  all  the  members  of  the  choir,  or  the  minister,  are  or 
arc  not  true  spiritual  worshipers;  this  we  do  not  know,  but 
we  think  that  such  a  form  is  presented,  both  as  respects  the 
matter  and  the  manner  in  song  and  in  speech,  as  is  well  adapted 
to  the  spirit  of  worship,  and  to  aid  the  true  worshiper  in  his 
sincere  attempts  to  worship  "in  spirit  and  in  truth." 

We  do  not  suppose  it  to  be  possible  to  train  a  choir  of  boys  of 
twelve  or  fourteen  years  of  age,  to  sing  independently  with  any 


112  THE  CHOIR. 

high  degree  of  expression,  (except  so  far  as  it  may  be  done  by 
imitation,)  not  even  if  the  true  spirit  and  worship  is  in  the  heart : 
the  immaturity  of  taste  and  judgment  belonging  to  their  age 
must  prevent  this;  but  yet,  something  may  be  done,  as  is 
proved  by  the  boys  of  the  Dom-Chor ;  and  certainly  a  much 
higher  degree  of  excellence  may  be  attained  anywhere  by  trained 
boys'  voices,  than  by  untrained  female  voices,  or  such  female 
voices  as  may  sometimes  be  heard  in  our  choirs.  I  presume 
there  is  no  choir  to  be  found  in  which  a  higher  degree  of  excel- 
lence exists  than  in  that  of  the  Dom-Kirche ;  it  is  certainly 
much  in  advance  of  such  of  the  English  cathedral  choirs  as  we 
have  heard.  That  union  or  blending  of  the  voices  by  which 
true  chorus  effect  is  produced,  and  without  whi#i  it  cannot  exist, 
is  realized  in  a  high  degree.  Some  exception  must  however  be 
made  here,  and  especially  with  respect  to  the  union  of  toys' 
with  men's  voices ;  but  this  blending  of  the  voices  of  the  Dom- 
Chor  is  admirable,  and  when  the  tenors  and  basses  are  singing 
by  themselves,  or  even  when  the  altos  unite,  it  is  almost  per- 
fect ;  but  the  soprano  of  the  boys,  especially  if  it  be  above  the 
twice  marked  small  c,  is  so  different  in  quality  or  character, 
that  that  close  union  by  which  many  voices  become  one,  is  not 
attainable.  In  the  English  choirs  there  is  indeed  none  of  this 
blending,  and  the  soprano  of  the  boys  stands  out  quite  discon- 
nected from  the  other  parts.  The  choirs  are  so  small,  too,  that 
this  of  itself  is  sufficient  to  prevent  the  effect  of  which  we  speak; 
for  it  is  a  well-known  fact,  that  it  cannot  be  easily  attained  with 
a  less  number  of  voices  than  about  six  on  a  part ;  but  it  seems 
not  to  be  sought  after  in  these  choirs,  so  that  in  respect  to  this 
point,  a  choral  performance  in  one  of  the  English  cathedrals, 
reminds  one  of  Nebuchadnezzar's  image,  partly  of  brass  and 
partly  of  clay.  Not  so,  however,  in  the  great  musical  festival 
choirs  of  England,  or  in  those  societies  where  a  female  soprano 


THE   DOME   CHOIR.  113 

is  employed,  for  in  both  these  we  have  heard  such  a  perfect 
union  of  fully-developed  male  and  female  voices,  as  to  leave 
nothing  more  on  this  point  to  be  desired. 

The  points  which  struck  us  the  most  forcibly  with  respect  to 
the  external  of  the  singing  of  this  choir,  are  first,  the  decision 
and  firmness  with  which  the  tones  are  taken  or  delivered,  and 
this  is  equally  applicable  to  piano  and  to  forte  passages ;  and 
second,  the  perfect  truthfulness  with  which  the  pitch  is  held  by 
the  mere  voices  alone,  for  the  organ,  as  we  have  already  re- 
marked, is  not  played  when  the  choir  sing,  but  is  only  brought 
in  to  aid  the  congregational  chorus ;  then  indeed  its  pipes  are 
not  spared ;  but  the  greater  part  of  the -musical  exercises  are  by 
the  choir,  senza  stromenti.  The  choir  seem  no  more  to  need 
the  accompaniment  of  an  organ,  than  does  a  well-organized  and 
perfect  orchestra ;  and  the  use  of  the  vocal  organs  of  the  one 
seems  to  be  as  firm,  decided,  and  true  to  the  pitch,  as  are  the 
bows,  strings,  and  mouth-pieces  of  the  other.  A  third  point  in 
which  this  choir  excels — the  great  point — has  already  been  spo- 
ken of,  but  yet  we  wish  to  add  a  few  words  on  the  appropriate 
expression  which  marks  their  singing.  It  is  tasteful,  or  it  con- 
forms to  the  generally-received  laws  of  taste  in  choir  or  orches- 
tral performances.  It  is  easy  and  natural,  without  any  approach 
to  coarseness,  roughness,  or  crudeness,  on  the  one  hand,  or 
affectation  of  beauty,  or  elegance,  or  feeling  on  the  other.  There 
is  an  absence  of  that  stiffness  or  formality  too  often  witnessed,  and 
especially  of  that  mechanical  straining  for  effect  which  is  apt  to 
characterize  the  performance  of  such  choirs  as  depend  upon  a 
marked  hymn  book,  and  endeavor  to  obtain  expression  from 
noted  directions.  True  expression  can  only  proceed  from  a 
well-educated  taste,  an  instantaneous  appreciation  of  beauty,  a 
quick  sensibility,  and  a  warm  and  sympathizing  heart ;  and  this 
is  equally  true,  both  in  elocution  and  in  song. 


114  QUAETET    SINGING. 

That  the  choir  of  the  Dom-Kirche  is  the  best  in  the  world, 
(as  we  have  heard  it  called,)  we  do  not  know,  but  that  it  is,  on 
the  whole,  the  best  we  have  heard,  we  are  willing  to  admit ; 
and  the  performances  of  the  choir  and  congregation,  separately 
and  together,  present  us  with  as  fine  a  form  of  church  music  as 
we  may  ever  expect  to  witness  in  this  world. 

We  cannot  close  these  very  imperfect  remarks  on  the  music 
of  the  Dom-Kirche,  without  contrasting  for  a  moment,  the  form 
of  church  music  which  it  presents,  with  one  which  prevails  to  a 
considerable  degree  with  us.  What  would  the  quartet  clubs 
of  our  churches  do,  if  they  should  become  familiar  with  such 
choir  singing  as  we  have  attempted  to  describe  1  If  governed 
by  correct  musical  taste,  or  by  religious  propriety,  and  if  unin- 
fluenced by  that,  the  love  of  which  is  the  root  of  all  evil,  we 
think  they  would,  at  least,  draw  the  curtains  in  front  of  the 
organ-loft  closer  than  ever,  or  perhaps  hang  their  four-stringed 
harps  on  the  willows,  and  let  the  people  sing  their  own 
songs,  until  a  choir,  properly  so  called,  could  be  formed.  What 
worshipping  assembly,  knowing  the.  power  of  a  good  choir, 
would  be  satisfied  for  a  single  Sabbath  with  the  drawing- 
room  effects  of  a  single  voice  on  a  part  ?  The  substitution  of  a 
piano  forte  for  an  organ  in  church  worship,  would  not  be  in 
worse  taste  than  the  substitution  of  a  quartet  for  a  choir.  A 
quartet  is  beautiful  in  its  place,  and  in  connection  and  in  con- 
trast with  a  choir,  may  be  truly  effective  in  church  music,  but 
save  us  from  that  form  of  song  in  the  house  of  God,  which  con- 
sists in  the  monotony  of  a  four-voiced  performance,  without  the 
light  and  shade  afforded  by  a  chorus. 

Again,  the  true  form  of  church  music  can  only  be  found  in 
the  union  of  a  choir,  (including  solo  and  quartet,)  with  a  con- 
gregational performance.  And  while  these  two  combined  pre- 
sent us  with  a  most  perfect  form  of  church  song,  each  must  be 


CHOIR  AND  CONGREGATIONAL   SINGING.  115 

kept  in  its  own  proper  place;  they  must  l>e  related  and  de- 
pendent, and  yet  preserve  their  own  independence.  Choir 
singing  must  be  one  thing,  and  congregational  singing  another, 
both  with  respect  to  the  character  of  the  music  and  the  style  of 
the  performance.  Congregational  singing  can  never  be  good, 
until  such  tunes  as  are  now  attempted  are  laid  aside,  and  a 
plainer  and  easier  class  are  alone  encouraged.  No  German 
congregation  could  sing  such  tunes  as  St.  Martin's.  Abridge, 
Devizes,  and  a  host  of  others,  old  and  new,  now  supposed  to  be 
appropriate  to  congregational  performance  in  America ;  but  let 
a  plain  and  simple  style  of  tunes  be  sung,  such  as  are  sung  here, 
and  let  the  more  difficult  and  more  tasteful  pieces  be  reserved 
for  a  well-trained  choir,  and  then  both  may  flourish,  strength- 
ening in  each  other's  strength.  It  is  a  grand  mistake,  but  one 
that  has  extensively  prevailed,  to  suppose  that  these  two  forms 
of  church  music  are  antagonistic,  so  that  if  one  is  encouraged, 
the  other  must  be  discouraged.  They  are  friendly,  and  should 
ever  go  hand  in  hand. 

Once  more — the  account  given  of  the  Dome  Choir  should  not 
discourage  such  choirs  in  our  country,  as  can  never  expect  to 
equal,  or  indeed  to  come  near  to  that,  in  the  excellency  of  their 
performances.  That  is  a  professional  choir,  sustained  at  a 
great  expense,  and  of  course,  the  circumstances  under  which 
it  prospers  are  quite  unlike  anything  existing  in  our  country. 
Ours  must  be  voluntary  choirs  of  amateurs,  supporting  them- 
selves, and  in  most  cases  paying  their  own  expenses.  But  yet. 
if  those  who  have  good  voices  will  but  apply  themselves  accord- 
ing to  their  opportunity,  as  much  may  be  done  by  our  choirs, 
to  promote  the  cause  of  a  spiritual  and  sincere  worship  in 
America,  as  is  dune  by  the  more  skilful,  better  trained,  and 
better  paid  choirs  in  Germany. 


116  MORNING    SERVICE. 


LETTER    XXV. 

The  Service  at  St.  Nicolai — Mad.  de  La  Grange. 

Leipzig,  Sunday,  May  2d,  1852. 

I  have  just  returned  from  the  morning  service.  Since 
Easter,  the  Motets  with  Orchestra  have  been  resumed ;  and 
to-day,  the  musical  exercises  were  somewhat  different  from 
what  they  usually  are.  A  Chorale  was  first  sung ;  but  there 
were  not  many  people  to  join  in.  The  exercises  commence 
precisely  at  eight  o'clock,  whether  anybody  is  there  or  not ; 
and  sometimes  I  have  attended  public  worship,  when  there  was 
no  one  present  at  the  commencement,  except  the  singers.  After 
the  chorale  to--day,  the  first  two  movements  of  a  mass  by  Che- 
rubim* were  sung,  "  Kyrie,"  and  "  Gloria  in  excelsis ;"  sung, 
too,  not  in  the  vernacular  language  of  the  land,  but  in  the  origi- 
nal Greek  and  Latin.  The  "  Kyrie  "  commenced  with  a  short 
Violoncello  solo ;  this  is  followed  by  a  vocal  solo  for  a  Bass 
voice ;  after  which  the  other  parts  join.  There  is  much  solo 
throughout  the  movement.  The  music,  although  very  fine,  did 
not  appear  to  me  to  be  very  supplicating  in  its  character,  nor 
did  it  seem  to  urge  the  cry  for  mercy  as  one  might  suppose 
David  urged  it  in  the  fifty-first  psalm.  At  the  close  of  the 
"  Kyrie,"  the  minister,  at  the  altar,  chanted  a  few  words  of 
prayer,  and  then  followed  a  brilliant  "  Gloria  in  excelsis," 
mostly  in  chorus.  A  fugue  is  introduced,  and  the  closing  move- 
ment, to  the  word  Amen,  is  very  animating  and  triumphant. 
At  the  close  of  the  "  Gloria,"  the  minister  chanted  the  collect 
for  the  day  with  response  by  the  choir ;  afterwards  followed 
prayer,  and  then  came  a  very  fine  Motet  or  Hymn  with  Or- 
chestra, composed  by  Spohr.  The  moment  this  closed,  choir 
and  orchestra  scattered,  and  were  seen  no  more.     The  organ 


T11K   TRUE   SONG    OF    WORSHIP.  117 

instantly  announced  a  chorale,  and  the  loud  congregational 
chorus  arose,  most  cheering,  most  refreshing,  Sabbath-like,  a  song 
of  worship,  solemn,  grand,  majestic,  "  fit  for  an  angel  to  play, 
or  a  martyr  to  hear  ;"  raising  one's  feelings,  and  bringing  home 
thoughts  of  God,  heaven,  holiness,  redemption,  and  eternity. 

I  am  a  great  lover  of  music,  I  delight  to  listen  to  an  orches- 
tral performance,  and  never  intend  to  omit  an  opportunity  of 
hearing  a  good  concert.  But  on  the  Sabbath-day,  when  one 
wishes  to  turn  his  thoughts  upward,  and  bring  himself  into  con- 
verse with  his  Father  above,  I  love  the  great  vocal"  chorus, 
plain  and  unpretending  though  it  be ;  it  lays  no  claim  to 
either  science  or  art,  yet  it  grapples  with  the  spirit  of  worship, 
draws  it  out.  and  bears  it  with  certainty  and  rapidity  towards 
the  object  of  its  search,  and  penitence,  and  thanksgiving,  and 
adoration  fill  the  soul.  Oh,  that  those  who  love  the  worship 
of  God  in  our  happy  land,  knew  the  power  of  song,  to  their 
aid ;  and  knew,  too,  that  form  of  song,  so  well  adapted  to  their 
end.  I  love  the  choir  ;  I  would  spend  days  and  nights  in  its 
trainings,  and  labor  without  being  weary  in  attempts  to  bring 
it  to  perfection  ;  I  would  listen  to  it  on  the  Sabbath,  be  made 
sorrowful  by  its  tones  of  penitence,  strong  in  faith  and  confi- 
dence by  its  full,  and  scientific-wrought  harmonies,  jubilant  by 
its  Hosannas  and  Hallelujahs  ;  but  even  this  is  not  enough.  In 
addition  to  all  that  a  choir  can  do.  I  want  the  plain  song  of  all 
the  people,  above  science,  above  art,  above  everything  save  Him 
into  whose  presence  it  hastens  one,  and  before  whose  throne  it 
fills  one  with  the  spirit  of  them  who  sing  without  ceasing: 
"  Worthy  is  the  Lamb  that  was  slain  to  receive  power,  and  riches, 
and  wisdom,  and  strength,  and  honor,  and  glory,  and  blessing." 

I  heard  the  congregation  singing  hymns  of  praise  to-day; 
the  loud  organ  led  them  on,  binding  all  together,  so  that  the. 
voices  were  as  the  voice  of  one  man  ;  the  grand  chorus  filled 


118  MAD.   DE   LA  GRANGE. 

the  house  of  the  Lord ;  it  seemed  to  say  Holy,  holy,  holy  is  the 
Lord  of  hosts  !  let  the  whole  earth  be  filled  tcith  his  glory  ;  and 
I  came  away  wishing  that  the  people  of  America  could  hear 
it  too,  hear  it  until  they  should  know  what  we  mean  when 
we  speak  of  congregational  singing,  become  sensible  of  its  im- 
mense importance  to  their  worshiping  assemblies,  and  hasten 
to  take  the  appropriate  preparatory  measures  for  its  introduc- 
tion. 

We  have  been  favored  with  an  opportunity  to  hear  another 
very  excellent  singer,  in  Mad.  de  la  Grange.  She  is  a  French 
lady,  and  a  true  artist.  When  Jenny  Lind  was  here,  some 
years  ago,  she  was  regarded  as  the  best  singer  who  was  ever 
heard  in  Leipzig;  save  that  now  and  then  one  remembered 
Catalani,  and  were,  of  course,  unwilling  to  give  up  their  earlier 
impressions  with  respect  to  that  lady.  Afterwards  came  the 
Countess  Rossi-Sontag,  who  seemed  to  bear  away  the  palm, 
and,  indeed,  she  cannot  be  excelled ;  but  now  we  have  truly  an 
artist  of  the  first  class  here  in  the  lady  above  named.  Of  her 
a  very  competent  critic  has  said,  in  one  of  the  papers,  "  She 
has  never  been  equaled  by  any  of  her  predecessors."  While 
we  might  be  willing  to  admit  the  truth  of  this  remark  in  regard 
to  some  particular  points  of  excellence,  we  do  not  acknowledge 
it  as  a  general  truth ;  and  it  must  be  credited  to  the  favorable 
disposition  of  the  newspaper  critic.  She  has  a  voice  rich  in 
tone,  extensive  in  compass,  and  of  great  flexibility.  Her  lower 
register  is  very  fine,  having  more  power  than  that  of  Sontag ; 
indeed  this  is  true  of  her  whole  compass,  and  in  this  particular 
she  may  be  compared  to  Jenny  Lind.  With  respect  to  quality 
and  purity  of  tone,  we  think  the  latter  lady  may  have  the 
preference  in  the  higher  register,  but  elsewhere  the  voice  of  De 
la  Grange  is  superior.  In  her  lesson  in  the  M  Barber,"  of  Ros- 
sini, she  ran  up  with  apparent  ease  to  the  thrice-marked  small 


MAD.   DE   LA   GRANGE.  119 

g  ;  and  in  her  songs  in  the  Zauberflote  she  touched  the  thrice- 
marked  small  /  with  the  ease  and  accuracy  of  a  pianoforte. 
She  sings  with  a  freedom,  openness,  frankness  of  voice  (so  to 
speak)  that  wo  have  scarcely  ever  heard  equaled,  and  never 
excelled.  She  is,  perhaps,  thirty  years  of  age,  and  of  most  fa- 
ting personal  appearance,  good  figure,  large  and  bewitch- 
ing eye-,  easy,  graceful,  and  elegant  in  every  movement  and 
gesticulation.  We  have  been  delighted  with  her  singing;  but 
yet  not  more  so  than  with  that  of  Sontag  or  of  Jenny  Lind. 
Either  of  these  singers  will  awaken  the  most  perfect  ideas  of 
beauty,  and  fill  one  with  delight ;  but  to  a  singer  like  the  Wag- 
ner, of  Berlin,  alone  it  belongs  to  move  the  deeper  fountains 
within. 

We  have  lately  seen  in  a  Boston  paper  a  notice  of  Mad. 
Sontag,  in  which  she  was  compared  to  a  marble  statue,  xoith  a 
music-box  in  her  throat.  While  this  in  one  respect  is  an  excel- 
lent comparison,  it  is  very  unjust  in  another  ;  in  regard  to  the 
power  of  execution  (technical)  it  does  really  give  one  a  very 
correct  idea  "flier  wonderful  performance;  but  with  respect  to 
the  expression  of  appropriate  feeling,  entering  fully  into  the 
character  she  represents,  or  of  the  song  she  sings,  it  is  false, 
wholly  false ;  for  if  ever  woman  excelled  in  the  latter  named 
points,  that  woman  is  Mad.  Sontag.  She  has  a  music-box.  in- 
deed, but  in  addition  to  its  exquisite  mechanism,  this  box  has  a 
soul,  a  spirit  of  life  and  love  within,  manifesting  itself  in  every 
tone,  inflection,  and  cadence. 

Mad.  de  la  Grange  sung  in  Rossini's  "Barber,"  Bellini's 
"Lucia."  Meyerbeer's  "  Robert"  and  "Prophet,"  and  also 
Mozart's  "Magic  Flute."  It  hardly  need  be  added  that  she 
met  with  a  warm  reception,  and,  at  the  increased  prices,  drew 
a  crowded  house. 


120  LEIPZIG    FAIR. 

LETTER   XXVI. 

The  Leipzig  Fair. 

Leipzig,  May  3, 1852. 

We  are  now  in  the  midst  of  the  Fair.  This  changes  the 
whole  aspect  of  the  town.  The  ways  are  crowded,  and  the 
people  move  in  solid  columns  through  the  centre  of  many  of 
the  principal  streets.  Every  hotel  is  two  or  three  times  full ; 
and  it  is  not  easy  to  procure  even  a  seat  at  a  table  d'hote  for  a 
dinner.  It  is  highly  interesting  for  one  who  is  not  a  business 
man  (and  perhaps  more  so  for  one  that  is)  to  walk  through  the 
principal  places  of  business,  and  see  the  great  variety  of  articles 
exposed  for  sale.  The  more  one  sees,  the  more  there  seems  to 
be  seen.  Many  of  the  stores  on  the  principal  streets  seem  to 
be  vacated  during  the  Fair,  and  given  up  to  the  manufacturer 
or  others  who  come  from  afar,  to  exhibit  and  sell  their  produc- 
tions. The  market  women  are  driven  from  the  usual  market 
place  with  their  butter,  cheese,  eggs,  &c,  and  temporary  or 
locomotive  shops,  stalls,  or  tents  have  appeared  in  their  place, 
filled  with  all  manner  of  fancy  articles.  Many  goods  are  ex- 
posed on  tables  in  the  open  streets,  and  where  they  are  kept  in 
shops,  they  are  brought  out  in  large  quantities  and  exhibited  at 
the  doors.  One  street  is  filled  with  cloths,  cassimeres,  and  .va- 
rious woollen  fabrics ;  the  display  of  fine  cloths  of  every  possi- 
ble shade  of  color,  is  full  of  interest.  There  is  no  extra  dis- 
play of  books  :  though  much  book-business  is  done ;  and  the 
congregation  of  book-manufacturers  and  sellers  is  very  great. 
They  meet  in  their  own  exchange,  or  appropriate  building. 
Starting  at  a  convenient  point,  and  walking  round  the  city  on 
the  promenade,  we  first  come  to  the  potters'  ground,  where  we 
see  all  manner  of  earthen  vessels,  pitchers,  pans,  plates,  bowls, 
mugs,  &c,  &c,  black,  and  white,  and  red,  and  yellow,  and  green, 


THE  FAIR.  121 

and  especially  brown.     The  stone-ware  is  adjoining  this,  and 
then  cornea  a  large  space  devoted  to  wooden-ware,  especial, 
such  as  belong  to  household  all  airs.    We  next  come  to  the  sell 

:'  flaxen  goods ;  and  here  is  a  fine  display  of  the  coarse 
linens,  as  Diaper,  Crash,  and  the  like.  Passing  onward,  we 
shall  find  ourselves  in  the  midst  of  fanning  utensils,  and  from 
thence  among  the  willow-weavers,  and  all  sorts  of  baskets, 
wooden  boxes,  trunks,  chests,  packing-cases ;  glass  and  porce- 
lain are  in  the  vicinity,  of  which  there  is  a  large  collection  ; 
ready-made  clothing,  hosiery,  and  gloves;  bonnets,  and  all  sorts 
of  ladies'  muslin  preparations  (names  unknown)  ;  with  men's 
lay-caps  and  night-caps,  and  worked  slippers,  &c.  But 
we  have  now  come  to  Augustus  platz,  the  open  space  between 
the  Post-office  and  the  Pauline  Church,  and  this  is  crowded 
with  everything ;  it  is,  as  to  the  variety  of  goods  exposed,  much 
like  the  market  place,  although  the  latter  is  somewhat  more  in 
the  fancy  line.  I  will  mention  a  few  of  the  classes  of  wares 
and  merchandize  contained  in  different  stalls,  as  I  noted  them 
down  when  I  walked  through  the  place  : — Looking-glasses  and 
picture-frames  ;  umbrellas  and  parasols  ;  wooden  over-shoes 
(much  worn) ;  bird  cages  ;  bonnets,  ribbons,  and  laces  ;  oil 
cloths ;  ginger  bread,  honey  cake,  and  confectionary  ;  extensive 
dry-goods  establishments,  somewhat  classified ;  copper  kettles 
and  all  sorts  of  boilers  and  household  vessels ;  flannels,  a  large 

merit  of  white  and  colored  ;  pins  and  needles;  buttons  ; 
musical  instruments;   soap  and  perfumery;   cigars;  walking- 

;  engravings  and  colored  paints  ;  jewelry  ;  pipes  (there 
are  many  shops  confined  to  this  article,  porcelain  pipes  in  all 
Borte  of  ]«>rms.  with  painted  bowls  and  various  ornamental 
works);  whips,  sadlery.  &C  ;  tin-ware;  brass-ware;  hard-ware 
generally,  and  cutlery  ;  blank-books  and  stationery  ;  busts  and 
plaster  work ;  combs — ivory,  wood,  tin,  copper,  iron  and  horn ; 

G 


122  THE  FAIR. 

upholstery ;  brushes ;  powder-flasks  and  various  dishes  made 
of  horn ;  woollen  yarns ;  but  the  idea  of  enumerating  is  ab- 
surd ;  the  oftener  one  walks  through  the  narrow  passage-ways 
the  more  things  he  sees,  and  at  every  time  discovers  many  ar- 
ticles which  had  escaped  his  notice  before.  Toy  shops  and  pipe 
shops  are  among  the  most  frequent  of  any,  and  the  display  in 
this  way  is  very  great.  A  very  large  majority  of  these  shops 
are  in  the  charge  of  females ;  as  we  walk  along,  they  very  mo- 
destly offer  their  wares  for  sale,  but  one  is  not  annoyed  by  con- 
stant appeals  to  purchase,  and  is  rather  permitted  to  pass  quiet- 
ly along  and  gaze.  At  about  a  quarter  of  a  mile  out  of  the 
city,  around  the  St.  John's  church,  there  is  a  shoe  and  boot 
mart ;  and  so  there  are  various  places  in  and  around  the  city 
where  everything  that  any  one  ever  thought  of,  and  many 
things  that  no  one  ever  did  think  of,  are  for  sale.  The  general 
complaint  is,  this  season,  that  business  is  dull ;  the  Austrians, 
the  Russians,  the  Prussians,  and  foreigners  generally,  have  not 
come  in  so  great,  numbers  as  they  sometimes  do.  The  places 
of  which  I  have  spoken  are  places  for  retail ;  the  great  whole- 
sale business  is  mostly  done,  as  I  am  informed,  the  week  before 
the  Fair. 

As  we  proceed  to  Rossplatz,  we  come  to  a  multitude  of  eat- 
ing and  drinking  "  Restauration"  places.  As  you  pass  by  them 
you  hear  music ;  look  in,  and  you  will  see  women  harping  upon 
their  harps,  and  men  sitting  at  tables  with  beer-glasses  before 
them,  some  drinking,  some  eating,  and  all  talking  and  smoking. 
The  show-places,  theatres,  menageries,  panoramas,  circuses,  and 
houses  or  sheds  for  various  games,  sports,  &c,  come  next. 
There  are  about  twenty  of  these  within  sight  of  our  window 
in  RossjDlatz ;  and  as  almost  every  one  of  them  employs  a  band 
of  music,  and  as  many  of  these  bands  are  playing  on  the  piaz- 
zas or  balconies  outside  of  the  buildings,  at  the  same  time,  in 


THE  FAIR.  123 

different  keys  and  movements,  we  are  not  at  a  loss  for  instru- 
mental exhibitions  daily  from  three  to  ten  o'clock.  But  at  ten 
everything  oeases,  and  within  half  an  hour  all  is  hushed  to  still- 
ness. 

The  Fair  brings  together  many  musicians.  All  the  little 
bands  from  the  surrounding  country  come  to  town  to  reap  a 
little  something  during  the  harvest  time.  These  bands  are  from 
four  to  eight  or  ten,  perhaps,  in  number,  and  are  variously  com- 
posed as  to  instruments.  Some  of  brass,  some  of  strings,  and 
some  curiously  mixed ;  as  a  horn,  a  clarionet,  a  violin,  and  a 
bassoon ;  or  a  double-bass,  oboe,  flute,  and  trumpet,  &c.  As 
early  as  six  o'clock  in  the  morning  they  are  out,  and  are  seen 
and  heard  playing  in  passage-ways,  entrances  to  hotels,  or  wher- 
ever many  people  may  be  supposed  to  be  within  hearing  ;  de- 
pending for  remuneration  upon  the  voluntary  contributions  of 
those  to  whose  edification  they  play.  They  are  almost  all  of 
them  apparently  very  poor,  and  are  contented  with  small  gains ; 
indeed,  one  would  suppose  that  even  without  "food  and  rai- 
ment" they  are  content.  They  seem  to  enjoy  it  right  well,  and 
to  take  it  for  granted  that  others  will  like  their  music  as  well 
as  they  do  themselves.  Many  females  are  seen  with  a  very  or- 
dinary kind  of  Harp  in  their  hands ;  these  unite  into  bands,  and 
three  or  four  are  seen  performing  in  chorus.  Female  violinists 
too,  are  often  seen,  and  a  harp  and  a  violin  are  regarded  as 
helps  meet. 

Prices  of  living  are  high  in  Fair  time,  and  it  costs  one  about 
the  same  here  as  in  London  or  New  York. 


124  THE  REFORMED   CHURCH. 


LETTER    XXVII 


The  Reformed  Church — Singing— Preaching. 

Leipzig,  May  10,  1852. 

There  is  a  small  church  here  distinguished  by  the  above  title. 
In  what  respects  it  diners  from  the  prevailing  Lutheran  church, 
I  do  not  know ;  but  orfe  of  the  principal  points  of  doctrine,  I 
believe,  is  that  which  relates  to  the  Lord's  Supper,  or  consub- 
stantiation.  The  society  have  no  entire  building  for  the  pur- 
pose of  worship,  and  meet  in  an  "  upper  chamber,"  in  a  large 
building  near  the  St.  Thomas  church.  They  have  here  a  very 
commodious  chapel,  neatly  finished,  capable  of  seating,  perhaps, 
five  hundred  persons.  The  whole  congregation  yesterday  did 
not  number  more  than  one  hundred  and  fifty  persons.  The 
form  of  worship  does  not  differ  essentially  from  the  Lutheran 
church ;  yet  there  is  a  space  in  the  service  left  for  extemporary 
prayer.  There  is  no  choir,  but  the  singing  is  lead  by  five  or 
six  boys,  who  sing  at  the  top  of  their  voices  the  principal  melo- 
dy; tune  or  pitch  being  as  true  as  the  organ-pipe.  The  organ 
was  played  quite  loud  throughout  all  the  hymns  ;  so  that  the 
boys  and  the  organ  together  quite  filled  the  small  place  with 
sound,  and  constituted  a  ground  or  foundation  upon  which  any 
one  of  the  congregation  might  rest  his  voice  with  perfect  security. 
One  might  sins;  under  such  circumstances  without  the  danger  of 
deviation  from  pitch  or  tune,  or  of  being  frightened,  or  of  fear- 
ing he  might  frighten  others  by  the  sound  of  his  own  voice. 
The  fact  is,  that  in  these  German  congregations  such  a  current 
or  tide  of  sound  is  put  in  motion  by  the  organ  and  the  leading 
boys  that  one  has  no  fear  of  joining  his  own  voice,  however 
harsh  or  unpleasant  it  may  be  ;  and  this  for  two  reasons  :  First, 
it  is  hardly  possible  that  in   such  a  loud  chorus  he  can  sing 


THE   SERMON.  125 

j :  and  Second,  no  other  person  will  be  likely  to  hear  him, 
even  if  he  should  be  able  to  hear  his  own  voice.     But  it  is 
evident  that,  in  I  hie        _     _  -  ing     _.  is  attend- 

-  own  song,  and  not  to  that  -ne  is 

singing  the  hymn  tor  himself,  and  no  one  listening  to  others' 
.  too.  that  no  one  is  thinking  of  good 
.  or  of  bad  mi  -  sometim<  -  N  with  us  ;  and 

I  do  not  think  that  the  thought  of  music  at  all,  (accord! 
the  common  acceptation  of  the  word,)  comes  into  the  mind, 
is  one  thing,  and  the  singing  of  hymns  quite 
another.  For  good  music  the  people  go  to  a  concert  or  to  the 
opera ;  or  perhaps  to  a  choir  and  orchestral  performance  in  the 
church  ;  but  in  the  singing  of  the  chorale  by  the  people.  _ 
music  is  not  looked  for  or  So  it  must 

where,  unless  such  an  attention  is  given  to  the  subject  in  the 
way  of  cultivation,  as  can  hardly  ever  be  ej 

In  this  church  everything  was  plain,  almost  as  much  -  sin 
the  churches  -  if  New  England.  There  were  no  pictures,  statues 
or  carved  images ;  no  representation  of  the  Saviour  upon  the 

no  altar  or  burning  candles,  but  a  simple  reading-*.! 

pulpit,  from  whence  proceed  the  pra;  hing. 

re  read  1  >y  a  young  man.  a  curate  or  assistant  min- 

md  the  preaching  v.  tine-looking  man  ot%  perhaps 

sixty  years  of  age.     His  sermon  I  could  not  understand,  but  his 

tones  'ions  and  Gesticulations  indie  _h  de- 

f  cultivation,  excellent  taste,  and  an  ardent  spirit.    There 

•re.  no  harshness  or  scolding,  but  the  winning 

f  l«'Ve  were  bo  mingled  with  the  solemn  declarations  of 

truth,  as  to  captivate  on    -  ga   and  make    effectual  the 

ration.     IIi>  manner  was  excellent  indeed  ;  and 

where  this  is  tl.  the  preach  eternal 

appearand  j  aeral  form  and  impress  from 


126  MUNICH. 

a  warm  heart — a  spirit  glowing  with  love  to  God  and  man ; 
and  where  this  manifests  itself  in  the  most  simple  and  unaffect- 
ed way,  yet  always  according  to  the  laws  of  good  taste  and 
judgment, — the  matter  will  be  good  too. 

We  wish  our  preachers  could  give  more  attention  to  the  cul- 
tivation of  the  voice  (not  in  song,  but  in  speech),  or  to  elocu- 
tion, including  gesticulation  and  all  that  belongs  to  a  perfectly 
simple,  easy  and  natural,  yet  elegant  vocal  delivery.  There  is 
a  mighty  power  in  the  human  voice  ;  it  is  more  irresistible  than 
arguments  ;  it  takes  possession  of  the  heart,  after  which  it  is  not 
difficult  to  control  the  head.  To  what,  for  example,  was 
Whitefield's  success  to  be  attributed,  (and  many  similar  in- 
stances might  be  quoted,)  but  to  his  captivating  voice  and 
general  pulpit  manner  %  A  sermon  may  be  sound,  logical,  doc- 
trinal, practical,  experimental,  and  be  lost  because  of  an  arti- 
ficial, awkward,  or  forbidding  manner.  Harsh  and  severe 
tones  of  voice,  and  a  scolding  manner,  will  drive  to  antagonism, 
or  to  the  defensive,  when  those  of  gentleness  will  draw  with 
a  power  not  to  be  resisted  ;  and  in  the  pulpit  as  well  as  in  the 
choir,  we  need  "  apples  of  gold  in  pictures  of  silver." 


LETTER   XXVIII 


Churches— Royal  Library — Military  Bands— Church  Music. 

Munich,  May  18, 1852. 

This  is  a  most  interesting  city,  second  only  to  Berlin,  and  in 
some  respects  before  it.  It  has  a  population  of  about  one  hun- 
dred and  ten  thousand  persons,  almost  all  of  whom  are  Roman 
Catholics.    Its  streets  are  wide  and  well  paved,  and'  its  buildings 


,  THE   ROYAL   LIBRARY.  127 

are  largo,  and  not  crowded  thickly  together.  Its  galleries  of 
sculpture  and  paintings  are  among  the  best  in  Europe  ;  its  pub- 
lic buildings  are  magnificent,  and  are  embellished  with  statues, 
frescoes,  painting  upon  glass,  and  whatever  is  ornamental ;  with 
regard  to  music,  although  it  may  be  second  in  some  things,  it 
is  first  in  others.  The  Orchestra  of  the  Royal  Opera  is  admir- 
able, and  is  under  the  direction  of  Kappelmeister  Lachner,  well 
known  as  one  of  Germany's  distinguished  composers ;  some 
of  his  symphonies  and  overtures  having  been  often  played  in 
Boston  and  New  York. 

The  churches  are  large,  and  filled  with  altars,  monuments, 
statues,  &c,  interesting  to  the  eye,  and  often  with  music  not 
less  attractive  to  the  ear.  A  new  church,  finished  only  a  year 
or  two  since,  is  very  elegant.  In  its  interior  are  sixty-four 
beautiful  columns,  of  rich  Tyrolese  marble,  each  twenty  feet  in 
length.  The  church  is  two  hundred  and  eighty-five  feet  long, 
and  one  hundred  and  twelve  feet  wide.  It  is  richly  decorated 
with  frescoes  illustrative  of  the  life  of  St.  Boniface,  to  whom  it 
is  dedicated.  To  preserve  the  architectural  view  of  the  church 
unbroken,  the  pulpits  are  placed  upon  railroads,  so  as  to  be 
trundled  out  of  sight  when  not  in  use. 

The  Royal  Library  is  contained  in  a  large  and  splendid  build- 
ing capable  of  containing  two  millions  of  volumes.  The  lib- 
rary now  consists  of  about  eight  hundred  thousand  volumes. 
Thr  collection  of  music  books  is  large,  and  many  of  the  works 
and  manuscripts  of  old  masters  are  found  there  ;  especially 
those  of  Orlando  di  Lasso,  whose  residence  for  many  years 
was  in  Munich.  In  front  of  the  building  of  the  Conservatory 
of  Music.  Odeon-Platz,  are  statues  in  bronze  of  Orlando  di 
Lasso  and  Gluck.  There  are  many  bronze  statues  about  the 
city,  but  one  in  particular  is  attractive  on  account  of  its  size. 
It  is  a  statue  of  a  female  figure,  emblematical  of  Bavaria,  and 


128  MILITARY  MUSIC. 

stands  in  front  of  a  building  called  the  Bavarian  Temple  of 
Fame,  a  little  out  of  town.  The  statue  is  upwards  of  sixty 
feet  high,  and  stands  upon  a  pedestal  of  twenty-eight  feet.  A 
lion  of  proportionate  dimensions  is  by  its  side.  Crawford's 
statue  of  Washington  is  about  to  be  cast  here,  in  bronze.  One 
of  the  figures  (Henry)  is  now  in  the  foundry,  and  the  others 
will  be  sent  on,  from  time  to  time,  as  they  come  from  the 
hands  of  the  artist  in  Rome. 

Among  the  most  interesting  features  of  these  German  cities, 
are  the  parks,  gardens,  &c,  in  which  they  abound.  We  have 
but  to  step  outside  of  the  gate  of  Munich,  for  example,  and  we 
find  ourselves  at  once  in  a  park  of  four  miles  long  ;  the  whole 
being  filled  with  trees,  shrubbery,  and  flowers  ;  with  roads, 
smooth  as  a  floor,  for  carriages;  and  foot-paths  winding  in  every 
possible  direction.  One  may  ride  for  hours  in  this  park  with 
ever-varying  and  ever-new  prospects  before  him.  The  river 
Isar,  a  small  but  rapid  stream,  winds  its  way  through  these 
woods,  adding  much  to  the  beauty  of  the  place.  It  is  a  good 
ten-days'  work  to  take  a  mere  superficial  look  at  the  various 
works  of  art  brought  together  in  the  Bavarian  capital. 

Military  music  abounds  here,  and  is  very  fine.  One  of  the 
best  bands  I  have  heard  (but  not  better  than  the  one  in  Berlin), 
consisting  of  about  forty  instruments,  including  oboes,  clarion- 
ets, bassoons,  &c,  plays  daily  at  eleven  o'clock  ;  say  an  over- 
ture first,  and  then  one  or  two  pieces  of  lighter  music.  We 
have  had  this  day  an  excellent  opportunity  of  hearing  military 
music,  and  at  the  same  time,  of  seeing  a  military  parade.  The 
Prince  Saxe,  a  brother  of  the  Queen,  died  a  few  days  since,  at 
his  residence  in  this  city ;  and  to-day  the  body  was  removed 
from  the  house  to  the  railroad  depot,  from  thence  to  be  taken 
to  Altenberg,  to  the  family  vault.  About  three  thousand  cav- 
alry, artillery,  and  infantry  were  called  out  to  perform  escort 


CHAPEL  OF  ALL  SAIX'iS.  129 

duty.  There  were  seven  fine  military  bands,  a  part  of  them 
being  composed  of  mixed  instruments,  and  a  part  of  brass 
only.     They  played  in  admirable  style. 

This  is  a  Roman  Catholic  place,  and  the  music  is,  of  course, 
such  as  belongs  to  that  Church.  There  is  but  one  place  where 
a  good  choir  is  sustained,  namely,  the  -Chapel  of  All  Saints." 
This  a  beautiful  building,  about  one  hundred  and  fifty  feet  in 
length,  ninety  in  width,  and  seventy  in  height.  There  are  a 
number  of  fine  carvings  ;  and  the  whole  interior  is  finely  cov- 
ered with  fresco  paintings,  on  a  gold  ground  ;  so  that  the  ap- 
pearance, as  one  enters  the  building,  is  very  splendid.  We  at- 
tended at  this  chapel  on  two  occasions,  on  each  of  which  high 
was  performed,  viz.,  Ascension-day  and  the  Sabbath  morn- 
ing following.  The  music  on  the  first  day  was  by  the  director, 
Aiblixgek.  well  known  as  a  composer  of  Masses.  Motets,  die. 
The  choristers  numbered  about  twenty-four,  or  six  voices  on  a 
part,  being  composed  of  the  best  professional  vocalists,  or  opera 
singers,  in  Munich.  The  organ  was  well  played,  but  never  as 
an  accompaniment,  as  the  vocal  music  was  without  any  accom- 
paniment whatever.  There  was,  in  the  performance  of  this 
choir,  all  the  full,  clear,  and  certain  delivery  and  union  of  vocal 
tones  that  the  m<>st  fastidious  critic  could  desire;  though  less 
of  the  crescendo  and  diminuendo  than  in  the  Dom  choir  at  Ber 
tin  :  but  in  one  respect,  the  Munich  choir  had  a  great  advan 
tage, — the  Soprano  and  Alto  parts  icerc  sustained  by  femalt 
voices.  Consequently,  there  was  a  fulness,  richness,  and  matu- 
rity of  voice,  and  a  blending  in  the  chorus;  neither  of  which 
can  be  obtained  in  choirs  where  boys  sing  the  Soprano.  There 
is  a  disagreeable  effect  always  resulting  from  the  predominance 
of  boys'  voices  in  a  choir.  The  attempt  to  unite  them  with 
adult  voices,  is  like  the  attempt  to  mix  oil  with  water;  they 
will  not  coalesce.     I  liave  not,  in  a  single  instance,  heard  boys' 

G* 


130  AIBLINGER. 

voices  in  a  choir  in  which  they  did  not  stand  out  by  themselves, 
as  a  separate  thing,  without  sympathy,  resemblance,  or  conge- 
niality. There  can  be  no  perfect  chorus  where  the  Soprano,  or 
even  the  Alto,  is  principally  sustained  by  boys.  Twelve  or 
twenty  boys,  with  good  voices,  trained  to  sing  together,  will 
form  an  excellent  chorus  of  one  part  to  lead  in  the  singing  of 
a  large  assembly  of  people ;  but  they  fail  not,  usually,  to  spoil 
a  complete  choir  or  chorus  of  each  of  the  four  parts  in  one. 

Mr.  Aiblkiger  is  an  able  musician,  and  a  fine  composer ;  and 
his  vocal  music  seems  to  be  a  very  happy  medium  between  the 
old  and  the  new.  "  A  little  too  modern,"  said  one  of  the  best 
musicians  in  Munich  to  me,  as  we  left  the  chapel.  "  A  little 
too  modern,"  I  suppose  the  best  musicians  would  almost  all  of 
them  say  ;  but,  while  I  admire  the  old,  and  regret  that  in  Am- 
erica it  should  be  entirely  unknown,  I  cannot  agree  with  those 
who  for  conscience  sake  would  confine  us  to  the  old  ecclesiasti- 
cal tones.  Mendelssohn  has  given  us  a  happy  medium  in  some 
of  his  vocal  music,  (written  without  accompaniment,)  as  the 
Berlin  Psalms,  and  some  other  things. 

I  did  not  learn  by  whom  the  music  performed  on  the  second 
occasion  was  composed ;  but,  on  both  occasions,  most  beautiful 
indeed  was  the  performance  of  the  choir.  I  never  expect  to 
hear  it  surpassed. 

The  music  in  the  other  churches,  so  far  as  I  had  an  opportu- 
nity of  hearing,  consists  of  the  old  chant,  the  performance  of 
which  was,  in  some  cases,  very  full  and  satisfactory. 

The  Protestants  are  but  few  in  number,  and  their  singing  is 
congregational. 


SONTAG.  131 

LETTER    XXIX. 

Henrietta  Sontag. 

Mrvirn,  May,  18.52. 

Of  this  inimitable  artiste  and  mistress  of  song,  we  have  al- 
ready reported  at  length ;  but  we  have  had  the  unexpected 
pleasure  of  hearing  her  again  in  the  Bavarian  capital,  and  can- 
not forbear  saying  a  few  words  more.  Since  being  in  Leipzig, 
in  February  last,  she  has  been  singing  in  some  of  the  most  im- 
portant German  cities  with  the  greatest  success.  In  Dresden, 
Breslair,  Hamburg,  Bremen,  and  other  places,  she  has  met  with 
the  warmest  reception ;  and  now,  in  Munich,  she  is  receiving  the 
highest  approbation  that  can  be  bestowed.  Increased  prices, 
crowded  houses,  wreaths,  bouquets  and  showers  of  flowers, 
iriwting  her  whenever  she  appears,  all  testify  to  the  high  stand 
which  she  takes  as  an  artist.  I  have  repeatedly  seen  her  re- 
called after  singing,  three  times,  and  even  then  the  delighted 
multitude  were  hardly  satisfied.  It  is  indeed  next  to  impos- 
sible that,  in  purity  of  tone,  and  perfection  of  execution,  she 
should  be  excelled. 

The  man  who,  in  describing  her  singing,  said  "  she  is  a  statue 
with  a  music-box  in  her  throat,"  said  well,  so  far  as  a  perfect 
execution,  touching  or  bowing,  is  concerned ;  but  he  should  have 
added  that  it  is  a  statue  of  humanity,  having  a  spirit  from  the 
divinity  within  ;  a  heart  manifesting  itself  in  every  tone,  look, 
gesticulation  and  movement.  So  easy,  so  graceful,  so  elegant, 
so  chaste,  so  artistic,  and  yet  so  simple  and  natural  is  Sontag ; 
who  has  ever  seen  and  heard  the  like  7  One  would  think  her 
to  be  a  mere  child  of  nature — (as  indeed  she  is  in  the  best 
sense  of  this  expression ;) — for  there  is  an  absence  of  all  stiff- 
ness, formality,  pedantry,  and  affectation,  and  yet  the  highest 


132  MUSICAL  CONSERVATORY. 

degree  of  cultivation  and  artistic  excellence  which  can  be  imag- 
ined. One  cannot  give  attention  to  her  singing  without  being 
delighted.  To  listen  to  her  is  like  looking  at  the  most  beauti- 
fully variegated  bouquet,  or  collection  of  flowers,  that  can  be 
brought  together  ;  it  is  like  the  glittering  plumage  of  the  most 
brilliant  of  the  feathered  race ;  like  the  appearance  of  a  thou- 
sand charming  little  girls  of  six  years  of  age,  wreathed  with 
freshest  roses,  and  dressed  in  purest  white. 

But  she  is  coming  to  America,  and  then  every  one  can  hear  her 
for  himself.  She  expects  (we  have  it  from  her  own  lips)  to  sail 
the  latter  part  of  August  for  New  York ;  and  then  we  promise 
all  the  lovers  of  perfection  in  song,  full  satisfaction.  We  can- 
not forbear  adding,  that  which  we  have  heard  from  various 
sources  in  Germany,  that  in  addition  to  her  artistic  excellence 
as  a  singer,  she  is  a  most  excellent  woman,  wife  and  mother. 


LETTER    XXX. 

"  Conservatorium  der  Musik." 


Munich,  May  25th,  1852. 

There  is  a  Conservatory  of  Music  here,  which  seems  to  be 
in  a  very  flourishing  condition.  A  letter  of  introduction  from 
Hauptmann  secured  for  us  a  warm  reception  from  the  Director, 
F.  Hauser,  (pronounced  How-zer.)  There  are  now  connected 
with  the  Conservatory,  fifteen  professors  of  music,  and  ninety 
students.  Every  student  is  required  to  attend  to  the  theory  of 
music,  harmony,  fugue,  and  instrumentation,  and  also  to  either 
the  Piano  Eorte  or  Violin  ;  in  addition  to  which,  such  as  desire 
it  can  attend  to  wind  instruments,  and  to  vocal  music.     Much 


F.   HAUSER. 


133 


:tion  is  given  to  vocal  music;  the  Director  himself;  being 
first  teacher  in  this  department     Many  of  die  eminent  nag 
now  popular  in  Germany,  were  educated  here.     It  is  an  exeel- 

place  for  one  who  wishes  to  study  the  voice  under  the  best 

advantages;  and  also  fin  one  who  wishes  to  b 

with  chorus  effects,  and  the  manner  of  drilling,  training,  and 

.  choir.    Above  one-half  of  the  students  constitute 

a  choir,  and  meet  regularly  once  a  week  for  a  two-hours'  exer- 

.  under  the  vigilant  watch  and  care  of  Director  Ilauser. 
Thev  practice  the  very  best  music,  from  Lasso  and  Palestrina 
all  the  way  down  to  Mendelssohn ;  and  on  the  afternoon  when 
we  were  permitted  to  be  present,  the  Oratorio  of  Elijah  was 
performed,  with  Piano  Forte  accompaniment.  The  recitatives, 
songs,  and  concerted  pieces  were  all  given  by  pupils,  and  both 
these  and  the  choruses  were  highly  creditable  to  the  institution. 
It  was  not  a  public  performance,  and  was  without  rehearsal. 
Mr.  Ilauser  was  so  kind  as  to  allow  us  to  choose  what  Oratorio 
should  be  sung,  mentioning  Elijah,  St.  Paul,  the  Creation, 
Seasons,  and  others ;  we  chose  Elijah,  and  it  was  put  down  be- 
fore  the  choir  accordingly,  and,  by  them,  quite  satisfactorily 
rendered.  It  was  a  drilling,  or  training  exercise,  and  the 
Director  did  not  hesitate  to  stop  the  song  whenever  anything 
appeared  to  him  to  require  it.  Solo  singers  were  in  several  in- 
stances stopped  and  corrected.    The  Director  has  full  authority, 

I  fears  not  to  use  it.  After  the  performance  was  over,  we 
spoke  to  him  of  the  great  advantage  he  had  over  an  American 
Conductor  in  this  respect ;  for  surely  no  choir  with  which  we 
are  acquainted,  would  bear  such  close  bringing  up  to  the  mark 
of  perfection;  and  we  said  to  him,  that  were  he  in  America, 
and  thus  corrected  faults  especially  in  a  ger,  the  v 

ist  would  very  probably  take  his  hat,  bid  him  -good  evening," 
and  be  off     Mr.  II.  smiled,  and  said  :  M  I  am  a  tyrant  here." 


134  MUNICH  AS  A   PLACE  FOE  STUDY. 

This,  however,  was  his  own  saying,  and  not  that  of  his  pupils, 
who  seemed  to  regard  him  with  great  respect  and  confidence. 
He  is  apparently  a  very  able  Conductor,  instantaneous  in  ear 
and  in  speech,  ever  watchful  and  vigilant,  detecting  the  smallest 
errors,  and  commanding  respect  and  obedience.  Where  there 
is  such  a  Conductor,  there  will  be  a  good  chorus,  provided 
he  has  good  materials  at  his  disposal.  Some  of  the  pupils 
manifested  much  talent,  especially  a  young  girl,  not  more  than 
fifteen  or  sixteen,  who  sang  with  an  openness  of  voice,  and  ful- 
ness and  purity  of  tone,  charming  in  the  hearing,  and  pleasant 
in  the  remembrance.  A  voice  of  such  perfection  is  of  more 
value  than  gold  ;  and  (although  there  may  be  exceptions)  indi- 
cates a  good  disposition.  Happy  are  they  in  whom  both  are 
united. 

We  regret  that  we  failed  to  obtain  a  printed  plan  or  pro- 
spectus of  the  Conservatory  at  Munich,  but  we  came  away 
deeply  impressed  in  its  favor.  The  Library  contains  a  good 
collection  of  the  works  of  the  best  musical  writers,  and  writers 
*>n  music.  Munich  is  a  place  where  one  can  live  as  cheap  as  at 
any  place  in  Germany — rents  and  tuition  are  very  low,  and 
food  and  raiment  can  be  obtained  for  as  small  a  sum  as  any- 
where, except,  perhaps,  in  some  parts  of  Italy.  Were  I  an 
American  youth,  wishing  to  obtain  a  thorough  musical  educa- 
tion, I  should  make  careful  inquiry  as  to  the  advantages  of  the 
Conservatory  of  Munich,  before  making  engagements  elsewhere. 


GLUCK.  135 


LETTER    XXXI. 

Orlando  di  Lasso  and  (; luck— Prof.  Dehn,  of  Berlin. 

Mi-Mcir,  If  a?  96,  ISA 

Of  all  the  old  writers  of  vocal  music,  Palestrina  seems  to 
stand  at  the  head.  He  seems  to  be  held  in  the  highest  estima- 
tion by  every  truly  learned  musician.  After  Palestrina,  per- 
haps there  is  no  one  for  whom  superiority  may  be  claimed  to 
Orlando  li  Lasso.  He  is  the  boast  of  the  Germans,  and 
passed  the  best  part  of  his  life  in  this  city.  In  the  Odeon 
Platz,  in  front  of  the  building  occupied  by  the  Conservatory 
of  Music,  is  a  fine  bronze  statue  of  Orlando  di  Lasso,  and 
also  of  Gluck.  They  stand  there  together ;  the  former,  the 
head  of  the  German  writers  of  the  old  school  of  church  music ; 
and  the  latter,  at  the  head  of  modern  dramatic  musical  com- 
posers. Gluck's  opera  of  "Ipheginia  in  Aulis,"  can  only  be 
considered  as  equaled  by  Mozart's  "  Don  Juan"  and  Beetho- 
ven's "  Fidelio."  Indeed,  there  are  not  a  few  who  give  Gluck 
the  highest  place.  His  operas  never  fail  to  draw  out  the  most 
intelligent  musicians,  and  it  is  always  regarded  as  a  rich  treat 
to  listen  to  them.  The  one  we  have  mentioned  certainly  holds 
the  highest  place,  but  the  Iphigenia  in  Tauris,  the  Alceste,  and 
Orpheon,  may  still  be  heard ;  and  hardly  a  classic  concert  is 
given  in  which  there  is  not  something  found  on  the  programme 
from  this  popular  writer.  Mozart,  no  doubt,  owed  much  of 
his  success  to  the  fact,  that  in  the  order  of  time  he  followed 
Gluck,  who  is  still  held  up  to  the  student  as  one  of  the  wry 
best  models.  His  "De  Profundis"  (138th  Psalm),  and  other 
things,  show  that  he  might  have  excelled  in  chureh  music. 
His  music  seems  to  be  but  little  known  in  America,  but  it 
will  hereafter  be  studied  by  the  musical  pupils  of  our  coun- 


136  ORLANDO  DI  LASSO. 

try,  and  "  Iphigenia  in  Aulis,"  at  least,  will  be  found  in  the 
libraries  of  all  those  who  wish  to  analyze  the  very  best  speci- 
mens of  song,  and  of  recitative.  Extracts  from  several  of 
Gluck's  tasteful  rneiodies  are  to  be  found  in  a  late  work 
(and  most  beautiful  and  effective  pieces  they  are)  ;  but,  besides 
these,  we  do  not  know  that  any  of  his  works  have  been  pub- 
lished with  us ;  and  even  his  very  popular  overture,  so  often 
played  here,  we  believe  is  unknown  to  the  American  concert- 
going  public. 

The  fame  of  Orlando  di  Lasso  rests  very  much  on  his  con- 
nection with  David  (good  comj^any,  truly !) ;  and  his  psalms 
are  studied  as  affording  some  of  the  finest  examples  of  counter- 
point, or  four-part  voice-writing,  that  can  be  found.  In  this  re- 
spect, these  old  masters  have  not  been  surpassed  by  any  who 
have  followed  them  ;  indeed,  some  of  the  best  theorists  have 
told  me  that  no  one  now  can  equal  them.  Haydn  and  his  fol- 
lowers have  made  great  advances  in  all  that  belongs  to  instru- 
mental music,  but  the  capacities  of  the  voice,  it  would  seem, 
were  thoroughly  understood  by  the  old  composers.  As  Bach 
carried  the  fugue  to  perfection,  so  Palestrina,  Orlando  di  Lasso 
and  others  worked  out  the  full  problem  of  vocal  four-part 
writing. 

It  is  pleasant  to  the  musician  to  see  such  monuments  as  those 
I  have  mentioned  erected  to  the  memory  of  the  great  compos- 
ers ;  and  the  statues  of  Orlando  di  Lasso  and  of  Gluck,  side  by 
side,  seem  happily  to  unite  the  different  schools  and  ages  repre- 
sented by  these  two  distinguished  men. 

An  anecdote  shall  close  this  communication.  When  in  Ber- 
lin, we  had  the  pleasure  of  an  interview  with  Professor  Dehn, 
one  of  the  most  learned  musicians  in  Germany.  Prof.  Dehn 
has  charge  of  the  musical  department  of  the  Royal  Library, 
and,  as  he  was  showing  us  the  valuable  and  scarce  old  books, 


PESTALOZZI   A XI)   XAGELI.  137 

ae  to  Orlando  di  Lasso's  Psalms.  Wishing  to  express  a 
decided  opinion,  and  not  being  able  to  speak  much  English,  he 
took  the  volumes  into  his  hand,  and  touching  me,  to  call  my  at- 
tention, gave  them  a   very   intelligible  and  affectionate  kiss! 

Bsor  Dehn  has  edited  a  new  edition  of  some  of  Orlando 
di  Lasso's  best  works. 


LETTER  XXXII. 

Pestalozzi— Niigeli — Church  Service— Sunday  School— Sacred  Concerts  in  America— 
Schnyder  Von  Warlensee. 

Zurich,  June  7,  1852. 

Pestalozzi  lived  here,  and  so  did  Niigeli ;  and  here  the  first 
efforts  were  made  to  apply  the  principle  of  inductive  teaching 
to  music.  The  work  of  Nageli  and  Pfeiffer  was  excellent,  and 
its  influence  has  been  felt  far  and  wide.  Other  manuals,  based 
on  this,  have  been  since  published,  better  adapted,  perhaps,  to 
the  common  purposes  of  teaching  ;  but  the  work  of  Nageli  and 
Pfeiffer  is  a  text  book  which  every  teacher  should  study  until 
he  makes  the  principle  his  own.  "The  Boston  Academy's 
Manual  of  Instruction  in  Vocal  Music,"  is  the  only  work  of  the 
kind  in  English,  so  fir  as  we  know,  in  which  these  principles 
are  carried  out.  Nageli  died  in  December,  1836.  A  very 
handsome  monument  of  black  marble,  surmounted  by  a  bust, 
has  been  erected  to  his  memory,  dedicated  by  the  Swiss  Sing- 
ing Societies  to  their  -  Vater  Nageli."  He  died  at  the  age  of 
sixty-three.  His  family,  consisting  of  his  wife,  son  and  daugh- 
ter, still  live  in  the  same  house  in  which  he  died.  Th 
and  daughter  are  both  well-educated  musicians,  teachers  and 
composers. 


138  ZUKICH. 

The  contrast  between  the  Lutheran  churches  of  Germany, 
and  the  Zwinglian  churches  of  Zurich,  is  very  great  in  the  Sab- 
bath-day service,  in  many  respects.  The  great  Cathedral, 
where  we  attended,  and  where  Zwingli  once  preached,  is  as 
plain  as  plain  can  be.  There  are  no  carvings,  paintings, 
crosses,  statues,  or  anything  ornamental ;  not  even  a  leather 
cushion  can  be  found,  or  the  smallest  piece  of  drapery  about  the 
pulpit  or  elsewhere.  There  is  neither  organ,  choir  nor  any  in- 
strument of  music.  The  seats  in  the  centre  of  the  main  floor 
are  of  plain,  hard  boards,  unpainted ;  this  part  of  the  house  is 
occupied  exclusively  by  women.  The  men  are  mostly  in  the 
gallery,  which  is  divided  into  separate  stalls,  each  for  one  per- 
son. Each  stall  has  a  seat  swung  on  hinges,  that  turns  back 
after  the  fashion  of  the  old  New  England  swinging  seats  of  a 
hundred  years  ago.  The  men  on  going  into  the  church  did  not 
sit  down,  but  each  one  took  his  stand  in  one  of  the  stalls,  wait- 
ing for  the  commencement  of  the  service.  Some  took  off  their 
hats,  others  continued  to  wear  them.  When  the  bell  ceased, 
the  minister  stepped  up  to  the  railing  near  the  pulpit,  and  gave 
out  the  pitch  by  sounding  the  four  principal  tones  of  the  scale 
to  the  syllable  la,  (1,  3,  5, 8,)  and  immediately  the  large  assem- 
bly began  to  sing.  The  singing  was  slow,  very  slow ;  I  have 
never  before  heard  a  tune  sung  so  slowly  as  on  this  occasion. 
In  singing  a  tune — "  The  Old  Hundredth,"  for  example, — I  am 
persuaded  that  the  Eev.  Mr.  Havergal's  congregation  would 
get  through  the  tune  by  the  time  this  Zurich  assembly  would 
get  through  the  first  line.  The  hymn-book  used  here,  includes, 
also,  the  tunes,  printed  in  four  parts,  and,  although  the  tenor 
and  the  alto  were  not  to  be  heard,  yet  many  of  the  men 
made  a  bold  attack  upon  the  bass,  which  they  made  to  tremble 
with  uncertainty,  if  not  with  fear.  The  trebles  in  one  line 
sought  to  attain  the  pitch  of  E ;  they  reached  a  little  higher  than 


ZWIXGLIAN  CHURCHES.  139 

E|},  but  yet  fell  short  of  their  aim,  and  this  caused  the  sinking 
of  the  pitch,  so  that  at  the  end  of  two  stanzas  it  was  something 
like  a  tone  below  its  starting  point.  It  was  well  that  but  two 
stanzas  were  sung;  for  a  new  pitch  would  have  been  necessary 
if  the  number  had  been  much  greater.  Here,  then,  is  a  speci- 
men of  congregational  singing  without  a  choir  or  organ. 

After  the  hymn  had  been*  sung,  a  prayer  was  read,  and  a 
lesson  from  the  Bible  followed.  At  the  close  of  this,  there  was 
a  chorus  of  seats,  reminding  one  of  half  a  century  ago  in  New 
England ;  a  chorus,  which  has  long  been  discontinued  with  us, 
and  which,  certainly,  I  never  expected  to  hear  again.  Every  man 
let  his  seat  fall  at  its  own  discretion.  It  brought  vividly  to 
mind  the  time  when  the  boys  in  adjoining  pews  used  to  vie 
with  each  other  in  the  damming  of  the  seats  at  the  close  of  the 
prayer. 

At  the  dinner  table  at  the  hotel,  I  was  much  amused  at  a  con- 
versation between  two  persons  who  seemed  to  be  German- 
Americans,  and  another  whom  I  supposed  to  be  an  English- 
man. The  conversation  was  in  English,  and  related  to  the  im- 
provement of  Americans  in  things  pertaining  to  the  fine  arts, 
music  and  amusements.  The  theatre,  the  opera  and  concerts, 
were  alluded  to.  Sunday  concerts  were  especially  spoken  of, 
and  the  fact  was  mentioned  that  concerts  on  the  Sabbath-day 
were  more  frequent. 

u  But,"  said  the  Englishman,  "  they  call  them  Sacred  Con- 
certs, do  they  not?" 

"  No,  not  now,"  was  the  reply  ;  "  they  used  to  call  them 
Sacred  Concerts  although  they  performed  overtures,  waltz  and 
dance  music;  but  the  word  is  no  longer  needed;  it  is  pretty 
generally  dropped;  and  now  they  simply  call  them  conceit-."' 

This  is  the  progress  of  which  they  told  ;  and  they  told  of 
facts.     We  have  often  been  surprised  at  the  virtue  of  that  word 


140  SCHXYDER  VON  WARTEXSEE. 

Sacred ;  when  thus  applied,  it  has  great  power  to  control  the 
actions  of  many,  and  serves  often  to  relieve  the  mind,  or  to 
calm  and  quiet  a  disturbing  conscience.  If  the  word  Sacred 
were  taken  away  from  many  concerts  to  which  it  is  attached,  it 
would  be  favorable  to  truth ;  even  although  the  words  sung  are 
from  David,  Watts  or  Wesley ;  since  the  words  are  too  often 
a  mere  apology  for  the  song. 

While  at  Zurich  we  had  the  pleasure  of  meeting  the  disr 
tinguished  theorist,  X.  Schxyder  von  Wartensee.  He  resides 
at  Frankfort-on-the-Main,  but  usually  spends  his  summers  in 
his  native  Switzerland.  He  is  not  only  a  scientific  musician, 
but  is  also  a  learned  man.  He  was  the  intimate  friend  of  Na- 
yeli,  and  we  believe  also  of  Pestalozzi.  He  is  the  author  of 
symphonies,  quartets,  &c,  and  has  written  one  opera,  but  is 
better  known  as  a  profound  theorist  than  as  a  popular  prac- 
tical composer. 


LETTER    XXXIII. 


University— Castle— Singing  Conventions— Wine  Casks— Duels— Jerome  of  Prague. 

Heidelberg,  June  12,  1852. 

There  are  quite  a  number  of  things  here  which  cannot  fail  to 
interest  the  traveler.  The  University  is  very  celebrated.  There 
are  usually  some  seven  or  eight  hundred  students  attending  the 
various  lectures.  Once  a  year  there  is  a  grand  musical  festival, 
many  hundreds  of  voices  uniting  in  chorus  in  one  of  the  large  open 
spaces  found  amongst  the  ruins  of  the  old  castle,  a  mile  above 
the  town.     It  was  omitted  this  year  on  account  of  the  death  of 


HEIDELBERG.  141 

one  of  the  royal  family.  On  such  an  occasion  all  amusements 
are  suspended,  and  as  the  singing  convention  was  regarded  in 
no  higher  view  than  these,  it  shared  the  fate  of  the  theatres  and 
the  dance  parties.  We  saw  the  place  were  the  meetings  are 
usually  held,  and  could  easily  imagine  that  the  effect  of  a  mul- 
titude of  voices,  under  such  circumstances,  amidst  the  old  towers 
and  walls,  would  have  been  very  imposing.  We  wandered 
about  amongst  the  ruins  and  apartments  of  the  castle,  one  of 
the  most  interesting  in  Germany.  It  was  built  and  destroyed 
several  times  before  the  year  1764,  when  it  was  struck  by 
lightning.  The  fire  burned  for  eight  days,  and  consumed  most 
of  the  interior  of  the  vast  building.  The  grounds  around  are 
owned  by  the  University.  They  are  well  laid  out,  and  are 
kept  in  a  line  state  of  repair.  One  cannot  turn  in  any  direction 
without  seeing  the  most  beautiful  flowers  and  shrubbery,  and 
these  shady  groves  afford  most  delightful  promenades.  Fine 
views  of  the  surrounding  country  are  obtained  from  different 
points  on  the  castle.  A  cellar  contains  a  famous  tun  or  v/ine 
cask.  It  was  made  in  1751.  It  is  thirty-six  feet  long,  and 
twenty-four  feet  wide.  It  is  capable  of  holding  eight  hundred 
hogsheads,  or  upwards  of  280,000  bottles.  It  has  only  been 
filled  three  times ;  the  last  time  in  17G9 ;  and  if  the  Maine 
temperance  law  should  be  adopted  here,  there  will  probably 
never  be  occasion  to  fill  it  more. 

In  a  valley  not  far  distant,  our  guide  pointed  out  the  place 
where  the  students  of  the  University  fight  their  duels.  It  is 
not  an  uncommon  thing  to  have  five  or  six  of  these  gentlemanly 
combats  in  a  day.  There  is  not  often  a  death,  for  the  sight  of 
blood  is  usually  regarded  as  satisfactory. 

The  old  church  of  St.  Peter  i>  visited  with  some  interest,  for 
it  was  here  that  Jerome  of  Prague,  who,  with  Ilus<.  was  burnt 
at  Constance,  proclaimed  the  doctrines  of  the  Reformation,  and 


142  ABBE  VOGLEE. 

on  the  door  he  posted  the  thesis  which,  together  with  his  bold 
preaching,  resulted  in  his  martyr  death.  One  does  not  fear  the 
stake  now,  but  the  spirit  of  persecution  has  not  yet  been  en- 
tirely subdued ;  and  uncharitableness  is  not  a  rare  thing  in  the 
churches,  even  in  the  nineteenth  century,  and  in  our  own  happy 
country. 

We  need  more  of  music's  influence  in  the  family,  in  the  school, 
in  the  social  circle,  and  in  the  church ;  for  a  man  cannot  hate 
his  brother  whose  heart  is  filled  with  the  true  spirit  of  sacred 
song. 


LETTER  XXXIV 


Abbe  Vogler— Rinck — Music  in  Schools— Tbe  Kappelmeister's  Wife  and  her  Rose. 

Darmstadt,  June  19,  1852. 

To  the  scientific  musician,  and  to  the  lover  of  church  music, 
Darmstadt  is  a  place  of  interest.  Here  the  Abbe  Vogler — a 
name  well  known  to  every  musician — lived,  and  produced  some 
of  his  greatest  works ;  and  here,  too,  he  died  and  was  buried. 
A  plain  monument  of  black  marble,  erected  to  the  memory  of 
"  the  excellent,  learned  musician,  and  talented  composer,"  by 
Ludwig,  Grand  Duke  of  Hesse  Darmstadt,  stands  in  the  old 
cemetery.  It  attempts  to  tell  his  fame,  but  his  various  theo- 
retical works,  and  compositions,  known  to  all  the  musical  world, 
do  it  much  more  effectually.  He  was  born  in  Wurtzburg,  June 
15,  1749,  and  died  in  Darmstadt,  May  6,  1814. 

The  organist,  too,  must  be  interested  in  Darmstadt,  for  here 
lived  Rinck,  a  name  better  known  in  England  and  America, 
than  any  other  organ  composer.  He  was  for  many  years  the 
organist  to  the  Grand  Duke,  and  was  universally  esteemed  as 


RINCK.  143 

■  Learned  and  accomplished  musician,  an  elegant  and  tasteful 
organist,  a  worthy  citizen,  and  an  excellent  man.  His  only 
son,  Rev.  George  Rinck,  is  now  a  clergyman  in  Darmstadt, 
and  his  only  unmarried  daughter  occupies  the  dwelling  where 
the  parents  formerly  lived,  and  which  during  their  lifetime  was 
a  happy  home.  The  editor  of  the  Musical  World*  can  tell  of 
the  excellence  of  Rinck,  and  of  the  happy  domestic  circle  that 
surrounded  him,  for  he  was  intimate  with  the  family,  and  is 
still  remembered  by  the  surviving  members  with  great  affection. 

Rinek's  works,  or  many  of  them,  have  been  re-published  in 
America  ;  especially  his  Organ  School,  and  much  of  his  organ 
music.  They  have  circulated  in  every  part  of  the  land ;  so 
that  wherever  there  is  an  organist,  Rinck  is  known  in  his  works, 
and  studied.  Whoever  studies  his  organ  music,  with  a  tolerable 
musical  ability,  cannot  fail  to  form  a  good  style.  We  have  for 
many  years  been  accustomed  to  say,  in  answer  to  the  question, 
••  Sow  shall  I  acquire  a  good  style  of  organ-playing,  and  espe- 
cially of  voluntary  playing?"  "Study  Rinck,  for  he  is  a  sure 
guide."  He  is  not  great,  like  Bach,  but  he  is  ever  beautiful 
and  elegant.  It  was  said  long  ago,  that  one  who  desired  to  ac- 
quire an  elegant  style  of  writing  the  English  language,  must 
spend  his  days  and  nights  with  Addison;  and  it  is  equally  true 
that  he  who  would  acquire  the  most  tasteful  style  of  organ- 
playing,  must  spend  his  days  and  nights  with  Rinck. 

We  visited  Darmstadt  with  especial  reference  to  the  library 
of  Rinck.  which  we  knew  was  for  sale.  The  lover  of  music  and 
of  its  progress  amongst  us  will  be  glad  to  know  that  it  is  al- 
ready packed,  and  will  be  on  its  way  to  America  in  a  few  days. 
If  it  arrives  safely,  it  must  be  useful  to  some  of  the  young  men 
who  are  looking  forward  to  the  musical  profession.  There  are 
now  many  young  men  who  are  beginning  to  feel  the  necessity 
*  R.  Storks  Willis,  Esq. 


144  MUSIC  IN  SCHOOLS. 

of  a  more  liberal  education  for  the  profession  of  music  than  has 
hitherto  been  supposed  important.  One  of  the  essentials,  un- 
doubtedly, is  a  knowledge  of  the  German  language.  A  man 
may,  indeed,  make  a  singer  or  a  player  on  an  instrument  with- 
out this,  and  without  much  intellectual  effort  or  study  ;  but  to 
one  who  aims  to  be  a  liberally  educated  and  thorough  musician, 
a  knowledge  of  the  German  is  indispensable ;  for  there  are  more 
valuable  scientific  and  miscellaneous  books  on  musical  history, 
criticism,  taste,  and  general  musical  literature,  than  in  all  other 
languages  together.  It  is  indeed  true  that  some  of  these  are 
being  introduced  to  the  English  reader  by  translation.  The 
recent  publication  of  the  valuable  work  of  Marx  on  Musical 
Theory,  in  New  York,  is  an  example  of  this  ;  but  notwithstand- 
ing all  that  may  be  done  in  this  way,  there  is  a  vast  amount  of 
musical  knowledge  that  must  remain  inaccessible  to  the  mere 
English  reader  for  ages  to  come.  The  library  of  Einck  contains 
the  most  approved  musical  treatises,  and  popular  works  on  the 
literature  of  music,  that  are  to  be  found  in  the  German  lan- 
guage ;  with  books  of  music,  and  especially  of  church  music,  in 
the  greatest  variety,  from  the  sixteenth  century  down  to  the 
present  day. 

Music  in  the  schools  is  better  taught  in  Darmstadt,  at  the 
present  time,  than  in  most  other  places  we  have  visited.  This 
is  probably  to  be  attributed  not  so  much  to  the  school  directors, 
as  to  the  fact  that  there  is  in  this  generation  a  man  living  there, 
whom  God  has  made  a  teacher,  or  rather  one  who,  having  in  a 
high  degree  the  natural  qualifications  for  a  teacher,  has,  by  study, 
observation,  and  especially  by  experience  in  the  strength  of  the 
Lord,  made  himself  one.  There  are  but  very  few  really  good 
teachers  ;  for  the  office  of  a  teacher  is  one  of  the  most  difficult 
to  fill  among  men.  But  we  have  seen  one  here ;  one  whose 
vieart  is  filled  with  the  love  of  children,  of  his  fellow-men,  ana 


RIXCK'S   GRAVE.  145 

of  communicating  knowledge ;   one  who,  delighting  to  teaeh. 
wholly  to  the  work.     He  cannot  live  long,  for 
there  Lb  such  a  continued  drawing  upon  his  physical,  intellectual, 
and  moral  being,  (and  the  drafts  arc  all  honored,  too.)  that  he 
must  soon  wear  out..    Bnt  such  a  man  will  live  more,  it'  not 
longer,  in  ten  years,  than  many  will  in  fifty.     It  is  most  inter- 
»  and  cheering  to  sec  a  really  good  teacher  before  his  class. 
We  were  permitted  to  accompany  the  gentleman  to  whom  we 
alluded  to  several  of  his  classes,  and  to  witness  the  inter- 
between  teacher  and  pupils.     lie  seemed  to  come  up  to 
our  recollection  ofMr.  Mann's  descriptions,  in  his  famous  report, 
when  Secretary  of  the  Board  of  Education  of  Massachusetts. 
Let  the  music  teacher  obtain  that  report,  and  read  it,  and  learn 
what  he  ought  to  be.     His  method  was  eminently  Pestalozzian, 
full  of  interest,  always  lively,  never  wearisome,  filled  with  va- 
riety of  illustration,  and  in  all  respects  satisfactory.     We  have 
such  teachers  in  America,  but  all  are  not  so. 

Iiinck's  grave  is  in  the  new  cemetery.  A  monument  of  free- 
stone, in  the  form  of  a  cross,  tells  of  his  resting  place.  He  died 
August  7.  1846. 

A-  we  entered  the  cemetery  in  search  of  the  grave,  we  met 
an  elderly  lady,  having  in  her  hand  a  vase  containing  a  rose- 
bush, in  which  was  a  beautiful  fresh  and  fragrant  flower.  We 
happened  to  meet  the  keeper  of  the  grounds,  or  sexton,  at  the 
same  moment  that  she  also  came  up,  and  as  we  inquired  for 
Ivinek's  grave,  she  said — "  Rinck  !  I.  too.  wish  to  find  Rinck's 
grave  !  it  in  company.     When  we  had  arriv. 

the  spot,  she  handed  the  vase  to  the  sexton,  requesting  him  to 
plant  it  on  the  grave  of  the  organist,  which  was  carefully  done. 
"So,"  said  the  lady  :  and  after  looking  in  silence  for  a  moment 
at  the  flower  and  at  the  monument,  rture.    On 

inquiry  we  found  her  to  be  the  wife  of  a  military  Kappelm 


146  FRANKFORT. 

residing  here ;  and  she  had  come  out  on  a  rainy  day  to  pay  this 
tribute  of  respect  and  affection  to  the  memory  of  one  whom, 
while  he  lived,  all  Darmstadt  loved,  and  whose  works  now  fol- 
lowing him,  all  the  musical  world  admire,  Dr.  Christian  Hein- 
rich  Rinck. 


LETTER  XXXV 


Military  Music — Schnyder  Ton  Wartensee — Prof.  Schindler — Schmidt,  the   Pianist — 
Church  Music— Organ  Playing— Congregational  Singing. 

Frankfort,  June  21,  1852. 

This  is  a  free  or  independent  city,  of  about  70,000  inhabit- 
ants ;  some  6,000  or  8,000  of  whom  are  Jews.  Frankfort  is 
the  seat  of  the  German  Diet ;  consequently  a  military  force  of 
10,000  or  12,000  soldiers  is  stationed  here.  A  part  of  the  city 
is  elegantly  built  in  modern  style,  but  the  old  Town  is  the  more 
interesting  to  a  stranger.  The  streets  are  often  very  narrow, 
and  the  high  old  houses  have  often  gables  or  projections  jutting 
out  at  each  story,  until  they  almost  meet  in  the  centre  at  the 
top. 

The  military  music  is  very  fine.  There  are  many  bands,  as 
Prussian,  Austrian,  Bavarian,  and  others.  One  of  them  plays 
daily  in  the  square  in  front  of  the  guard  house ;  and,  as  each 
one  tries  to  surpass  the  others,  their  performances  are  often 
carried  to  a  high  degree  of  perfection. 

Several  distinguished  musicians  make  Frankfort  their  home. 
The  Schnyder  von  Wartensee,  so  well  known  not  only  as  a 
learned  musician,  but  also  as  a  man  of  general  literary  attain- 
ments, is  one  of  these.  The  Editor  of  the  New  York  Musical 
World  (R.  S.  Willis),  knows  him  well,  as  he  was  for  several 


SCHIXDLER.  147 

years  his  pupil.  lie  is  now  absent,  spending  the  summer 
months  in  his  native  Switzerland.  Schixdler.  the  biographer 
erf  Beethoven,  also  makes  Frankfort  his  residence.  He  has 
many  relies  of  Beethoven  which  he  values  very  highly.  He 
conversed  for  nearly  two  hours,  with  great  interest,  on  his  fa- 
vorite author  and  his  works.  He  says  that  Beethoven  is  played 
in  quicker  time  now  than  formerly,  and  especially  the  allegros 
in  his  Symphonies.  These,  he  thinks,  lose  much  of  their  true 
efiect  by  the  quickness  of  the  time  in  which  they  are  played. 
The  first  violin,  or  the  leading  melody,  is  heard,  but  the  inner 
parts  lose  their  efficiency.  He  thinks  Mendelssohn  has  injured 
Beethoven,  by  giving  his  great  influence  in  favor  of  the  quicker 
movement.  He  illustrated  and  proved  his  remarks  on  the  de- 
gree of  quickness  with  which  Beethoven  himself  directed  his 
own  compositions,  by  anecdotes  of  Hummel,  Hiller,  Czerny, 
and  others,  who  all  agreed  as  to  the  general  fact.  He  makes 
the  same  remark,  also,  with  reference  to  Mozart  and  Haydn. 
There  can  be  no  doubt  that  the  time  is  now  taken  quicker,  in 
rlnrmance  of  the  compositions  of  these  masters,  than  it 
was  when  they  themselves  directed  it ;  but  it  is  doubtful 
whether  it  will  be  restored.  Modern  associations  and  habits 
seem  to  require  the  change ;  and,  it  is  not  improbable  that,  had 
Beethoven  lived,  he  too  might  have  changed  with  the  times. 
Hcrr  Schindler  remarked,  that  in  Paris  he  has  heard  Beethoven 
1  with  very  great  perfection,  notwithstanding  the  quicks 
ness  of  the  time.  The  inner  parts  were  there  distinctive  and 
clear,  but  generally  it  is  not  so. 

Aloys  Schmidt,  a  fine  pianist  of  the  old  school,  and  the 
teacher  of  both  the  Messrs.  Lange  of  Boston,  also  resides  here. 
He  still  plays  in  public  occasionally. 

By  a  recent  act  of  the  Government  all  places  of  business  are 
closed  on  the  Sabbath ;  so  that,  on  this  day,  Frankfort  appears 


148  OKGAN  PLAYING. 

much  more  like  an  English  or  American,  than  like  a  German 
city.  The  act  is  said  to  have  originated  rather  from  some 
political  considerations,  than  from  a  religious  regard  to  the 
day. 

All  the  churches  have  organs,  but  there  is  no  choir  in  any 
of  them,  so  that  the  singing  is,  as  in  most  other  German  places, 
exclusively  congregational.  Of  the  several  specimens  we  have 
heard,  the  best,  perhaps,  was  at  the  Reformed  Church.  The 
building  is  in  good  taste  and  convenient,  being  in  size  and  form 
much  like  one  of  our  larger  city  churches.  It  is  quite  free, 
however,  from  all  those  appearances  of  finery,  or  attempts  at 
display  or  show,  which  we  sometimes  see  in  our  American 
churches,  and  which  are  always  unbecoming  ;  while,  on  the  other 
hand,  there  is  nothing  of  the  rudeness  or  coarseness  which  is  to 
be  seen  in  some  of  the  Swiss  churches.  It  seats,  probably,  from 
1,200  to  1,500  persons,  and  was,  when  we  were  present,  quite 
full.  The  centre  of  the  house,  below,  was  occupied  by  women  ; 
and  the  outside  or  wall  slips,  by  men.  The  galleries,  on  both 
sides,  were  occupied  exclusively  by  men.  The  organ  is  large, 
extending  nearly  across  the  end  of  the  house ;  one  man  (pre- 
centor) leads  the  singing,  aided  by  some  twenty  girls  and  boys, 
whose  voices  could  hardly  be  heard.  The  organ  was  played  in 
fine  church  style,  with  dignity,  elevation,  and  firmness.  It  is 
certainly  a  great  relief  to  hear  these  German  organs  (or  many 
of  them)  played  without  the  least  attempt  at  showing  off  stops, 
or  at  that  prettiness  which  seeks  to  please  or  tickle,  without 
elegance  or  grandeur ;  and  also  entirely  free  from  an  evercon- 
tinued  and  sickening  seesaw  of  the  swell,  thought  to  be  so  ex- 
quisitely fine  by  some  organists  in  England  and  America. 
That  the  swell  may  be  tastefully  used  we  do  not  doubt ;  but, 
its  abuse  is  so  much  more  frequent  than  its  judicious  use,  even 
by  some  who  are  otherwise  truly  good  organists,  that  it  is  al- 


SERVICE   AT  THE   REFORMED   CHURCH.  149 

most  doubtful  whether  it  would  not  have  been  better  if  this  im- 
provement had  never  been  invented. 

Hie  service  commenced  with  quite  a  long  voluntary  of  ten 
minutes  or  more,  consisting  of  an  introduction  and  fugue.  The 
subject  of  the  fugue  was,  perhaps,  a  little  too  chromatic  for  the 
dignity  of  worship,  but  it  was  played  slowly  and  with  great 
precision  and  certainty.  Fugue-playing  is  usually  slower  by  the 
good  organists  in  Germany,  than  it  is  in  some  other  places. 
The  fugue  is  often  taken  in  so  quick  time  as  to  produce  a  con- 
fused mixture  of  subject  and  answer,  depriving  the  composition 
of  meaning,  and  rendering  it  almost  unintelligible,  and  quite 
embarrassing  to  the  hearer.  One  reason  of  this  is  obvious ;  it 
is  vastly  easier  to  play  a  fugue  upon  the  run,  with  constant  ac- 
celeration, than  it  is  to  play  it  in  moderately  slow  and  strict 
time  At  the  close  of  the  voluntary,  the  minister,  followed  by 
the  session,  entered  ;  the  former  took  his  place  in  the  pulpit ; 
the  latter  took  their  places  in  seats  appropriated  to  them,  on 
cadi  side,  facing  the  congregation.  The  organ  then  gave  out 
the  tune  Iosco  (Cantica  Laudis,  p.  296)— the  melody  was  made 
wry  prominent,  the  bass  was  played  by  the  pedals,  and  an  in- 
termediate figured  accompaniment  filled  up  the  harmonv,  pro- 
ducing a  line  effect  The  hymn,  the  subject  of  which  was 
prayer  to  Jesus  for  his  spirit,  was  finely  sung  by  the  whole  as- 

bly,  all  singing  the  melody.  At  the  end  of  the  first  line  of 
the  last  stanza,  which  was  doxological,  the  minister  rose  in  the 
pulpit,  not  to  find  his  place  in  the  Bible  as  if  he  was  in  «  hurry 
to  cut  ntf  the  last  act  of  praise,  but  apparently  as  an  act  of  rev- 
erence, as  he  kepi  standing,  without  any  movement,  and  was 
soon  followed  in  his  example  by  all  the  male  part  of  his  con- 
gregation. A  short  prayer  followed  the  hymn  ;  then  an  address 
(extempore)  of  four  or  five  minutes;  after  this  the  regular 
morning  prayer  was  read;  another  hymn  was  sung  as  before, 


150  SERVICE   AT  ST.   CATHERINE'S   CHURCH. 

and  the  sermon  followed.  There  were  two  hymns  sung  after- 
wards, making  four  times  singing  during  the  exercises.  Here 
was  a  very  simple,  appropriate,  devotional  service  for  a  Sab- 
bath morning, — almost  the  same,  indeed,  as  is  the  religious  ser- 
vice in  our  Presbyterian,  Baptist,  or  Congregational  churches, 
and  vastly  superior  to  the  Lutheran  or  English  Cathedral  repe- 
titions and  forms.  But,  if  in  addition  to  good  choirs,  we  could 
have  the  Congregational  singing  exercise,  it  would  be  a  vast 
improvement  on  our  present  forms  of  worship.  The  beauty  of 
the  singing  exercise,  or  its  adaptedness  to  worship,  is  to  a  great 
extent  lost  with  us,  and  we  need,  in  order  to  its  recovery,  the 
congregation  in  connection  with  the  choir,  in  the  singing  of 
"  Psalms,  and  Hymns,  and  Spiritual  Songs." 

We  heard,  also,  a  very  excellent  example  of  Congregational 
singing  in  the  St.  Catharine  Church.  The  congregation  con- 
sisted of  at  least  some  twelve  hundred  persons.  The  exercises 
commenced  by  an  organ  voluntary  of  about  four  or  five  min- 
utes, at  the  close  of  which  the  whole  congregation  joined  in  the 
old  choral  everywhere  heard  in  Germany,  the  first  line  of  which 
is  1,  5  3,  1  5,  6  6,  5,  &c,  in  the  key  of  E  flat  major.  Two 
stanzas  were  sung,  each  taking  four  minutes.  At  the  close  of 
the  second  stanza,  the  organist,  continuing  to  play,  changed 
gradually  his  key  to  A  minor,  closing  an  intermediate  volun- 
tary of  about  three  minutes,  diminishing  to  pianissimo  so  as  to 
hush  the  house  to  perfect  silence ;  then,  after  a  moment's  pause, 
the  people  joined  again  to  the  lead  of  the  organ,  in  the  fine  old 
choral  beginning  as  follows :  e,  a  g,  f  e,  d — ,  e — ,  &c.  Four 
stanzas  were  sung  of  three  minutes  each.  Here,  then,  were 
two  hymns  sung  in  connection ;  which,  with  the  organ  prelude 
and  interlude  occupied  full  half-an-hour  in  the  performance. 
Men's  voices  predominated,  marking  in  strength  the  bold  out- 
lines of  the  tune  ;  while  female  voices  were  heard  and  seemed 


MATINEE.  151 

to  come  in  echoing,  enriching,  beautifying,  and  rendering  that 
charming  and  lovely  which  otherwise  would  have  been  too  se- 
verely grand  and  majestic,  The  organ  was  firm  and  steady. 
leading  along  the  whole  combined  chorus  with  the  utmost  cer- 
tainty, and  giving  full  confidence  to  all  the  voices. 


LETTER    XXXVI 


Matin£e — Mozart— Bach— Elocution— Singing— Piano  Forte — Bonn — Beethoven's 
Monument — Cologne — Aix-la-Chapelle — Don  Juan— Musical  Conventions. 

AlX-LA-C'U.VPELLE,  JuilO  24,    If 

Just  before  leaving  Frankfort,  we  had  an  opportunity  of  at- 
tending a  matinee,  or  very  select  morning  concert,  in  the  saloon 
of  the  Mozart  House.  Such  morning  concerts  are  quite  com- 
mon in  the  larger  German  cities.  An  individual,  having  the 
means  to  do  it,  employs  at  his  own  expense  an  orchestra,  or 
more  probably  a  quartet,  or  quintet,  makes  out  his  own  pro- 
gramme, and  invites  his  friends  to  spend  a  couple  of  hours  in 
listening  to  fine  music.  On  the  present  occasion,  an  audience 
of  perhaps  two  hundred  persons  (the  most  musical  people  of 
Frankfort)  were  brought  together.  Schindler,  the  biographer 
of  Beethoven,  Schmidt  the  pianist,  and  other  distinguished  per- 
sons, were  present  The  concert  consisted  of  both  vocal  and 
instrumental  music  ;  and  Music's  sister,  Elocution,  was  also 
brought  in.  and  lent  her  aid  in  the  exercises  of  the  occasion. 
Tlii'  programme  contained  the  following  pieces  (though  not  ir 
the  order  in  which  they  are  here  put  down),  viz.  : — Quintet 
(G.  minor),  Moz«rt.  charmingly — I  suppose  it  may  bf  Bald,  p<  r- 
feetly  played  by  Messrs,  WolflEJ  Baldeneoker,  Po-vh.  Drinnen- 
berg,   and   Siedentopf.      Quintet    Movement,   Mozart.      This 


152  BEETHOVEN. 

very  beautiful  movement  by  Mozart  has  not  before  been  play- 
ed since  the  year  1783.  It  has  been  recently  discovered  in 
Mozart's  own  hand-writing,  among  his  manuscripts,  which  for 
some  twenty  years  have  been  in  the  family  of  Andre  of  Offen- 
bach. It  will  shortly  be  published.  Recitative  and  Air,  with 
violoncello  and  obligato  accompaniment,  composed  by  John 
Sebastian  Bach.  This  song  is  quite  of  a  popular  character,  not- 
withstanding it  is  by  Bach,  reminding  one  somewhat  of  Han- 
del's most  popular  songs.  It  is  a  sacred  song,  from  an  unpub- 
lished cantate  ;  but  the  Recitative  and  Song  will  soon  be  pub- 
lished. Part-Songs,  for  soprano,  alto,  tenor,  and  bass.  Two 
songs  were  sung  by  a  well-trained  double  quartet.  A  Poem 
on  Mozart  was  well  read  by  a  lady,  having  a  rich  alto  voice, 
Fraulein  Graemann.  The  effect  of  introducing  this  elocution- 
ary exercise  was  very  pleasing,  and  the  example  is  a  good  one 
to  be  followed  wherever  a  really  excellent  reader  can  be  found 
to  sustain  the  part.  Strangers  are  sometimes  invited  to  play 
in  these  concerts  ;  and  on  the  present  occasion  two  pianoforte 
pieces,  "  Amitie pour  amitie"  composed  by  the  performer,  and 
Doneyschock's  Bhapsodie  in  C.  Minor,  were  played  by  Mr. 
William  Mason  of  Boston,  U.  S.  A. 

On  our  way  down  the  Ehine,  we  made  a  stop  at  Bonn,  just 
long  enough  to  see  a  little  of  the  place  where  the  great  modern 
composer,  Beethoven,  was  born,  and  to  look  upon  the  monu- 
ment which  art  has  here  erected  to  the  memory  of  one  of  the 
greatest  of  artists.  The  monument  stands  upon  a  public  square, 
and  consists  of  a  fine  bronze  statue  of  the  symphonist,  holding 
an  open  sheet  of  paper  in  the  left,  and  a  pencil  in  the  right 
hand.  Our  little  company,  together  with  a  few  strangers  who 
went  to  see  it  at  the  same  time,  stood  under  the  deep  shady 
trees  by  which  it  is  surrounded,  and  gazed  upon  it  for  a  few 
moments  in  perfect  silence,  and  with  intense  interest/     No  mu- 


COLOGNE— AIX-LA-CIIAPELLE.  153 

sician  who  \a  able  to  bring  up  to  hi*  imagination  the  wonder- 
ful original,  can  look  upon  this  statue  without  a  deep  feeling  of 
reverence  and  admiration,  amounting  as  nearly  to  worship  and 
adoration  as  may  be  rendered  to  the  highest  manifestations  of 
human  genius, 

The  darkest,  most  uncleanly,  and  uninteresting  city  we  have 
is  Cologne.  Farina  himself  nor  the  whole  company  of 
Farinas,  can  keep  it  clean.  Yet  its  cathedral,  though  unfinish- 
ed, is  grand  ;  and  there  we  heard  the  priests,  with  organ  aid, 
chanting  their  Gregorian  mass. 

At  Aix-la-Chapelle,  as  we  rode  from  the  railroad  station  to 
the  hotel,  we  found  the  streets  filled  with  people  ;  a  large  band 
of  music  occupied  a  central  position,  and  the  whole  town  seem- 
ed to  be  awaiting  some  important  event.  On  inquiry,  when  we 
reached  our  hotel,  we  ascertained  that  the  occasion  of  the  gen- 
eral turning  out  was  the  expected  return  of  the  singers  of  Aix- 
la-Chapelle  from  Lille,  where  they  had  been  for  a  few  days  to 
attend  a  grand  musical  festival.  Different  choirs  had  contend- 
ed for  a  prize  which  had  been  offered  for  the  best  vocal  perform- 
ance, and  the  news  had  already  arrived  that  a  choir  from  this 
place  had  been  the  winners  ;  and  the  multitude  had  assembled 
to  give  them  due  honors  and  a  cordial  reception  on  their  return 
home.  They  came  soon  after,  but  unfortunately  a  violent 
shower  of  rain  prevented  the  procession  through  the  principal 
ts  that  had  been  intended.  But  it  did  not  prevent  the  per- 
formance  of  Mozart's  Don  Juan,  which  was  given  in  a  very  re- 
spectable manner  in  the  evening. 

Although  we  have  been  fortunate  in  occasionally  coming  un- 
expectedly upon  musical  performances,  we  have  necessarily  lost 
others,  which  we  should  have  been  delighted  t<>  attend;  for  ex- 
ample, in  addition  to  that  already  mentioned  at  Lille,  there 
i  ill.-  22d  and  23d  June,  a  grand  festival  at  Ballenstedt, 
7* 


154  PARIS. 

Hanover,  where  a  very  large  choir  and  orchestra  performed, 
under  the  direction  of  Franz  Listz.  The  two  most  attractive 
pieces  were  "  The  Ninth  (choral)  Symphonie"  of  Beethoven 
and  the  "  Walpurgisnachf  of  Mendelssohn.  There  is  also  with- 
in a  day  or  two  from  this  date  a  large  musical  festival  to  take 
place  in  Brunswick,  at  which  the  great  pieces  are  Mendelssohn's 
Elijah  and  Beethoven's  Ninth. 

But  we  have  lost  musical  meetings  which  we  value,  on  some 
accounts,  even  higher  than  we  do  these.  We  refer  to  the  sev- 
eral conventions  and  anniversaries  in  our  country  which  take 
place  during  this  and  the  next  month,  to  which  we  were  honor- 
ed with  invitations,  and  some  of  which  we  have  for  many  years 
been  accustomed  to  attend.  Success  to  their  summer  assem- 
blies !  We  hope  hereafter  to  be  permitted  to  join  them  again 
in  those  exercises  of  teaching  and  training  which  we  have  rea- 
son to  believe  have  heretofore  been  acceptable  and  useful. 


LETTER    XXXVII. 


Church  Music— Catholic— Protestant— Old  Psalms— Hotel  des  Invalides— Concerts— Mey- 
erbeer—Onslow— Adam— Henrietta  Sontag— Americans— Etc.,  etc. 

Paris,  July  7,  1852. 

What  shall  we  say  of  Church  music  in  this  city  %  Those 
who  know  what  it  is,  will  not  expect  much,  and  yet  we  must 
attempt  to  glean  something. 

The  church  of  St.  Roch  is  said  to  be  one  of  the  best  with  re- 
spect to  the  musical  service ;  but,  the  singing  in  the  mass  was 
so  indifferently  performed,  the  day  we  "were  present,  that  it  is 
difficult  to  find  anything  to  say  in  favor  of  it.     At  the  Church 


CHURCH   "DE   LORATOIRE."  155 

of  Madeleine,  it  was  about  equally  good,  bad  or  indifferent. 
The  fact  is,  the  Roman  Catholic  service  (musical)  seems  to  re- 
ceive but  little  attention,  and  to  be  very  carelessly  performed 
everywhere,  with  the  exception  of  a  few  of  the  Cathedrals  or 
Royal  Chapels  of  the  larger  cities.  The  best  choir-singing, 
(Roman  Catholic,)  without  accompaniment,  we  have  heard,  was 
at  Munich ;  and  the  best,  with  orchestra,  perhaps,  at  Dresden. 
We  attended,  last  Sabbath,  the  Church  "  De  l'oratoire,"  one 
of  the  old  Calvinistic  churches  of  France.  The  church  con- 
tained a  good-sized  organ,  which  was  indifferently  played. 
There  was  no  choir.  The  organ  led,  and  was  followed  by  a 
very  nasal  precentor's  voice,  with  a  few  of  the  congregation 
joining  in  humming  under  tone ; — one  of  the  worst  specimens 
of  Congregational  singing  we  have  heard,  yet  interesting  by 
association,  for  it  carried  us  in  imagination  to  our  home  country 
(beloved)  where  we  have  sometimes  heard  similar  attempts. 
At  this,  and  the  associate  churches,  the  old  psalms  of  Clement, 
Ma  rot,  and  Theodore  Beza,  with  the  tunes  originally  set  to  them, 
are  still  sung.  But  the  tunes  have  recently  been  much  injured, 
nay  spoiled,  by  a  rythmical  arrangement  by  Wilhelm.  He 
has  introduced  dotted  notes,  which,  with  other  things,  makes 
them  so  difficult,  that  a  congregation  "cannot  keep  together  in 
singing  them.  Even  the  organist  did  not  come  very  near  to 
correct  time  in  playing  them.  The  Old  Hundredth  psalm  tune 
(134th,  in  the  book  here  used),  is  turned  into  triple  measure, 
thus  : 

i    i    i    li     ill     ill 

The  second,  third  and  fourth  lines  arc  exactly  like  the  first  in 
rythmic  form.  Other  tunes  are  treated  with  as  little  judgment 
and  knowledge  of  Congregational  singing. 

We  cannot  forbear  mentioning  in  this  place  that  we  have  been 


156  HOTEL   DES   IXYALIDES. 

so  fortunate  as  to  obtain  in  Paris  an  old  copy  of  the  Bible,  entitled 
M  Calendrier  Historia.1"  published  in  1567,  containing  the  origi- 
nal "  Les  Pseavmes  mis  en  Rime  Francaise par  Clement  Marot, 
and  Theodore  BezaP  The  word  Bible  is  not  used  on  the  title- 
page  or  elsewhere.  It  was  printed  at  a  time  when  the  Bible 
was  not  permitted,  and  the  title  "  Calendrier  Historial,"  was 
adopted,  that  the  soldiers,  who  could  not  read,  but  had  learnt  the 
word  "  Bible,"  should  not,  when  they  came  round  to  search,  be 
able  to  identify  the  book,  and  thus  it  would  be  preserved. 
After  the  title-page,  it  contains  a  "  lectevr  on  Almanacks  and 
Calendriers"  and  a  "  Table  dv  cycle  solaire,  Lettre  Dominicale, 
Bissexte,  Pasque,  Nombre  d'or,  and  indiction  Romaine." 

We  attended  the  service  on  Sunday  at  the  "  Hotel  des  Inva- 
lides,"  to  witness  the  manner  of  worship  provided  for  the  old 
and  disabled  soldiers,  who  find  their  support  here.  They  were 
formed  in  two  single  columns,  one  on  each  side  of  the  centre 
aisle,  each  man  bearing  a  flag-staff,  which  was  u  carried,"  "  or- 
dered," "  presented,"  &c,  at  the  word  of  command. 

The  religious  exercises  commenced  by  a  grand  voluntary,  by 
the  military  band  in  attendance,  which  was  nothing  more  or 
less  than  the  overture  of  the  Caliph  of  Bagdad,  by  Boieldieu. 
The  grand  military  mass  now  followed,  and  it  consisted  of  a 
succession  of  popular  operatic  airs,  played  by  the  band,  with  an 
occasional  roll  of  the  small  drums,  an  "  order,"  or  a  ';  present " 
by  the  old  soldiers,  and  a  pantomime  by  two  or  three  ministers, 
bowing,  kneeling,  crossing,  &c,  &c,  now  here  and  now  there. 
Words  or  thoughts  are  not  necessary  in  such  a  worship  as  this, 
which  seems  to  be  designed  for  mere  external  sensuous  im- 
pression— yet  there  were  a  few  words  chanted  by  the  drum- 
mers, towards  the  close  of  the  solemnities. 

"  It  is  a  very  solemn  service,"  said  a  young  man,  whom  we 
happened  to  fill  in  with  as  we  came  away,  and  whom,  from  his 


CONCERTS— ADAM.  157 

speech,  we  supposed  to  be  an  American  or  an  Englishman.  So 
may  a  theatrical  exhibition,  or  other  spectacle,  or  pageantry,  be 
r  be  quite  without  that  -  spirit  and  truth  *r  so  es- 
sential to  religions  worship.  To  see  these  things  is  enough  to 
make  one  long  for  the  simple  worship  of  a  church  of  the  Puri- 

yet,  there  are  young  men  who  eome  from  Americ 
see.  first,  perhaps,  the  Puseyite  worship  in  England — then  the 
more  consistent  Roman  Catholic   forms,  and  become  decided 
Romanists,  and,  perhaps,  take  upon  them  Holy  Orders. 

There  are  a  multitude  of  concerts  here,  and  musical  festivals  ; 
grand  orchestras  of  many  performers,  under  distinguished  con- 
ductors ;  and  they  play  grand  ~  Quadrilles,  Valses,  Polkas.  Ma- 
zurkas. Redowas,  Schottisches.  les  plus  en  vogue  ;"  with  "  Cloches, 
Grelots.  Fonets,  Vapeurs,  Tam-tam,  Coeur-infernal,  Feu  de  Ben- 
gale,  etc..  etc.''  Our  Grand  Concerts  u  every  night  in  the  week, 
Sunday  excepted,  as  ichitcs  and  Ethiopians^'  are  not  inferior  to 
these  Parisian  daily  grand  performances.  It  is  but  justice, 
•  •  t.  to  say  that  the  concerts  of  the  "  Conservatoire  de 
Mutique  "  have  a  very  high  reputation;  so  that  even  the  Ger- 
mans say  that  at  them  Beethoven  is  admirably  performed. 
These  are  now  closed  for  the  season.  Meyerbeer  has  been  in 
Paris  several  days.  lie  is  out  of  health,  and  is  soon  going  to 
the  waters  of  Spa.  Six  representations  of  his  opera  k*  Struen- 
have  been  given  lately  in  Hamburg. 
Onslow,  the  composer,  is  suffering  with  a  severe  maladv  of 
the  eye-,  which  causes  him,  for  the  present,  to  rest  from  his 
lab< 

A  new  mass,  by  Adam,  was  lately  performed  in  the  town  of 
Avray.     The  <•■  lied  with  a   choir  of  sii 

went  from  Paris  for  the  purpose,  taking  with  them  one  of 
Alexander's  melodeons,  and  a  harp,  as  a  substitute  for  organ 
and  orchestra.     The  accompaniment  was  so  arranged  and  dis- 


158  SONTAG — AMERICANS. 

tributed  between  the  reeds  and  the  strings  as  to  produce  a  fine 
effect.  A  Credo  from  Cherubini,  and  a  Gloria  by  Dietsch,  were 
also  well  performed. 

A  late  Munich  paper  contains  an  account  of  the  last  concert 
of  Henrietta  Sontag  in  that  city.  It  was  given  for  the  poor  of 
Munich ;  and,  after  its  close,  the  artists  and  amateurs  of  the 
city  complimented  Mad.  Sontag  in  a  manner  "  worthy  of  them- 
selves and  of  her."  As  they  were  bidding  her  farewell,  in  the 
name  of  the  Bavarian  public,  they  formed  a  circle  around  her, 
and  sang  a  chorus  composed  many  years  since  in  her  honor. 
Madame  Sontag  was  deeply  affected  at  recognizing  in  the  words, 
an  ode  which  was  written  for  her  by  the  present  King  of  Bava- 
ria, Maximilian  II.,  when  he  was  Crown  Prince,  at  the  Univer- 
sity of  Berlin,  in  the  days  of  her  first  triumphs,  upwards  of 
twenty  years  ago.  From  Munich  Madame  Sontag  went  to 
Ems,  where  she  spends  a  few  weeks  for  rest,  and  will  then  soon 
proceed  to  New  York. 

Mr.  C.  C.  Perkins,  of  Boston,  is  here,  industriously  pur- 
suing a  course  of  scientific  study.  He  has  cultivated  a  taste 
for  the  most  classic  compositions ;  and  his  influence  upon  the 
Art  must  be  of  the  highest  advantage  to  American  music,  and 
to  the  progress  of  music  generally  in  our  country.  He  intends 
to  continue  his  studies  next  season  in  Germany. 

We  have  had  the  pleasure  of  meeting  here,  also,  Dr.  S.  P. 
Tuckerman.  Dr.  T.  has  now  been  in  England  for  several 
years,  studying  the  English  church  music.  He  has  received 
the  degree  of  Doctor  of  Music,  from  the  Archbishop  of  Can- 
terbury ;  the  first  instance  of  the  conferring  of  the  honor  on  an 
American.  Dr.  T.  has  just  returned  from  a  musical  tour 
through  Italy,  and  he  intends  to  visit  Germany  the  coming 
winter. 

Mr.  Nathan  Richardson,  of  Boston,  left   Paris  a  few  days 


AMERICAN"    MUSICAL   STUDENTS.  159 

since  for  London,  whence,  after  a  few  months,  he  will  re- 
turn to  his  native  country,  to  commoner  his  musical  professional 
career.  Mr.  R.  commenced  his  studies,  we  believe,  under  Mr. 
Webb  ;  after  Bereral  years'  study  in  Boston,  he  went  to  Ger- 
many, where  he  remained  about  four  years;  he  then  spent  some 
six  months  in  Paris.  lie  has  all  this  time  been  under  the  best 
masters  that  could  be  found,  and  he  has  turned  his  special  at- 
tention to  the  art  of  teaching.  We  rejoice  in  this,  for  there 
may  be  those  who  play  well,  or  sing  well,  or  are  good  theorists, 
and  understand  all  harmony,  counterpoint,  and  fugue,  but  who 
are  poorly  qualified  to  teach.  Indeed,  to  be  a  good  teacher,  one 
must  have  a  genius  for  it,  and  a  delight  in  it ;  and,  when  we  see 
a  young  man  devoting  himself  to  this  particular  musical  de- 
partment, and  pursuing  it  with  steadiness  and  perseverance,  we 
may  conclude  (if  we  may  judge  of  one  of  his  works),  that  he 
has  the  love  of  it  in  his  heart.  Success  must  follow.  *  So  may 
it  be  in  the  present  case. 

Air.  J.  C.  D.  Parker  still  pursues  his  studies  at  Leipzig. 
Mr.  S.  P.  Homer,  and  Mr.  William  Mason,  are  in  Frankfort. 

We  daily  meet  Americans  in  Paris;  some  seeking  for  health, 
some  for  pleasure,  and  many  for  knowledge  in  some  depart- 
ment of  science  or  art. 


LETTER    XXXVIII 


Bhtgiwg  in  the  fewfeh  Synagogue;  also  in  the  Cliurvh  St.  Roch. 

Park,  July  12,  tfj 

On*  Friday  evening  last,  we  attonded  the  regular  service  at 
the  Jewish  synagogue.  There  was  a  congregation  of  perhaps 
three  hundred  men  occupying  the  lower  part  of  the  house,  an  1 


160  JEWISH  SYNAGOGUE. 

a  few  scattering  women  were  seen  in  the  gallery.  The  men  all 
sit  or  stand  with  heads  covered ;  and  although  four  of  us  Am- 
ericans took  off  our  hats  when  we  entered,  we  were  told  to  put 
them  on  again,  and  obeyed  orders.  There  was  very  little  ap- 
pearance of  reverence  or  solemnity  ;  indeed,  none  that  could 
be  observed.  The  appearance  of  the  assembly  was  somewhat 
like  that  of  a  New  England  town  meeting,  after  having  been 
called  to  order  by  the  chairman.  There  wras  a  choir  of  about 
twelve  or  fourteen  boys,  with  men  for  tenor  and  bass,  and  the 
harmony  parts  were  sung.  All  the  service  was  chanted,  in  a 
responsive  manner,  by  priest  or  priests,  choir  and  people,  with 
the  exception  of  two  airs  and  melodies,  which  were  sung  by 
the  choir.  These  were  both  modern,  and  even  the  chants  did 
not  seem  to  come  from  David  or  Solomon,  but  were  more  like 
the  common  chant,  somewhat  modified  by  a  kind  of  recitative 
or  declamatory  manner  of  utterance.  On  the  whole,  the  Jew- 
ish service  here  was  not  one  of  much  interest,  considered  either 
religiously  or  musically. 

On  Sabbath  morning,  we  attended  the  Roman  Catholic  service 
at  St.  Roch.  Music  receives  more  attention  here  than  at,  per- 
haps, any  of  the  other  Paris  churches ;  and  the  whole  mass  was, 
to-day,  quite  w<ell  done.  The  choir,  including  ministers,  boys, 
and  all,  numbered  about  fifty  persons.  There  are  twro  organs  ; 
a  large  one  at  the  end  of  the  gallery,  occupying  about  the  place 
in  the  house  that  organs  generally  do  with  us ;  and  a  smaller 
one  in  the  choir,  near  the  altar.  This  latter  was  used  exclusive- 
ly for  accompaniment,  and  the  former,  or  large  one,  was  play- 
ed only  when  some  flourish  of  overture  or  march  triumphant 
was  desired.  Then  it  sent  forth  its  tones  loud  and  jubilant,  so 
as  to  make  the  welkin  ring  again.  The  music  was  quite  mod- 
ern ;  as  much  so  as  if  composed  by  the  latest  Donizetti  or  Ver- 
di, and  quite  in  the  orchestral,  anti-ecclesiastical  style.     It  was 


LONDON.  161 

I  vocal, — words  were  sung;  but,  as  they  could  not  be  un- 
*>d,  the  effect  of  the  whole  was  such  as  is  the  musical  effect 
lb  a  grand  pantomime.  Indeed,  the  worship  in  the  Roman  Cath- 
olic cathedrals  seems  to  be  little  else  than  a  mute.gesticulatory 
action  of  bowings,  crossings,  and  kneelings,  with  grand  proces- 
musical  accompaniment,  &c.  Musically  considered,  how 
ever,  the  performance  was  good.  It  was  prompt  and  energetic, 
and  the  pianos  and  fortes  were  well  observed.  The  organs  too, 
though  far  different  from  the  German  style,  were  played  with 
all  the  power  of  execution  that  could  be  desired. 


LETTER    XXXIX 


Concert  of  the  Musical  Union — Church  Music — London  Sacred  Harmonic  Society — 
Opera  Singers — Henriette  Sontag — Spohr. 

London,  August  2,  1852. 

We  did  not  arrive  in  London  until  after  most  of  the  musical 
season  was  over ;  consequently  there  is  not  much  to  be  heard. 
On  the  very  day  of  our  arrival,  however,  we  had  the  pleasure  of 
attending  a  very  fine  performance  of  "The  Musical  Union." 
The  following  was  the  programme  for  the  occasion  : 

1 — Quintet,  G  minor Mozart 

Allegro,  Adagio,  Minuet,  Finn!,. 

MM.  SlVOBT,  Ml. I.i. <>.\\  VlEUXTEMFS,  OURT,  an  I   I'lATTI. 

2— Trio,  E  flat.    Op.  70 Beethovt  ». 

Adagio  and  Allegro,  Allegretto,  Minuet,  Finale, 
MM  Hallo,  Siyory,  and  Piatti. 

3 — Leidf.r Mend  fotohn, 

4 — Quintet,  Op.  20 Bet  thorn  n. 

Allegro,  Adagio,  Minuet  and  Trio,  Pr 
MM.  Vieuxtemps,  Mi  i.i.<>\,  Ourt,  Webb,  and  Piatti. 


162  SCOTCH  CHURCH. 

Here  was  a  programme  worth  one's  attention,  whether  the 
compositions,  or  the  performers  be  considered.  It  was  inter- 
esting to  see  such  artists  taking  subordinate  parts,  that  the  com- 
positions might  be  as  perfectly  rendered  as  possible.  It  is 
needless  to  add  that  the  result  did  not  disappoint  expectation. 
This  was  the  last  concert  of  the  Union  for  the  season.  Sixteen 
performances  have  been  given ;  eight  evening  concerts,  and 
eight  subscription  matinees.  The  Union  have  secured  the  very- 
best  artists ;  and  three  Italians,  two  Hungarians,  two  Bohemians, 
two  Belgians,  one  Bavarian,  three  Prussians,  one  Austrian,  one 
Frenchman,  mid.  five  Englishmen,  have  been  employed.  So,  it 
seems  as  many  foreign  artists  are  employed  in  London  as  in 
New  York. 

On  Sabbath  last  we  attended  public  worship  at  the  Scotch 
Church,  under  the  pastoral  charge  of  Dr.  John  Cumming.  Dr. 
dimming  is  a  very  popular  preacher ;  his  house  is  generally 
crowded,  and  it  is  not  easy  always  to  obtain  seats — which  favor, 
however,  we  procured,  through  the  politeness  of  the  leader  of 
the  singing,  Mr.  Purday.  The  order  of  exercises  observed  in 
this  church  is  an  excellent  one,  and  I  therefore  copy  it. 

I — Singing — a  Hymn  by  the  Congregation. 

II — Prayer,  half  as  long  as  the  Prayer  usually  is  in  Presbyterian 
Churches. 

Ill — Choir  Singing.     An  Anthem. 
IV — Reading  Scriptures,  with  Exposition. 
V — Hymn,  sung  by  the  Congregation. 
VI — Prayer,  about  the  length  of  the  first. 
VII — Sermon. 
VIII — Singing  by  Congregation.     Notices. 
IX — Concluding  Prayer,  and  Benediction. 

The  standing  position  was  observed  in  the  singing  exercises, 
and  the  sitting  posture  in  all  others.     I  will  not  attempt  to 


CHURCH   MUSIC.  103 

report  the  sermon,  but  will  only  observe  that  one  more  plain. 
faithful,  and  edifying  can  hardly  be  imagined.     The  text  was 

"  It  is  good  for  me  to  draw  near  uuto  God." 

It  will  be  observed  that  the  singing  exercise  occurs  four  times; 
thrice  by  the  congregation,  and  once  by  the  choir  exclusively. 
The  people  generally  united,  although  the  tunes,  (with  the  ex- 
ception of  the  last,  which  was  York.)  were  too  difficult  to  justify 
the  expectation  of  the  best  congregational  singing.  The  old 
tune  of  Martyrdom  was  sung;  but  in  singing  it?,  the  people 
could  not  keep  together,  on  account  of  the  triple  measure,  and 
the  crotchets  in  the  fourth  line.  The  other  tune  (we  do  not 
know  its  name)  was  so  high  that  many  could  not  reach  the 
pitch.  A  congregational  tune  should  not  go  higher  than  D,  or 
E  flat. 

At  three  o'clock  we  attended  the  Episcopal  service,  at  Lin- 
coln's Inn  Fields.  Mr.  J.  A.  Novello  is  the  principal  bass  in 
this  choir.  The  servico  was  quite  well  done,  and  the  popular 
anthem  by  Purcell,  "  O  give  thanks,"  was  highly  interesting. 
In  the  sermon  there  was  a  great  falling  off,  indeed,  from  that  of 
the  morning. 

In  the  evening  we  attended  the  Baptist  Church,  Devonshire 
Square,  Bishopgate  street.  A  precentor,  standing  in  front  of  the 
pulpit,  led  the  singing.  He  first  read  a  stanza,  and  then  it  was 
Bang  by  all  the  people;  and,  thus,  the  whole  hymn  was  alternately 
read  and  sung.  The  same  obstacle  to  success  in  Congregational 
ringing  was  observable  here,  as  at  the  Scotch  ( "hurch  in  the  morn- 
ing— the  times  were  too  difficult,  ami  the  effect  of  the  singing  was 
wretched.  We  are  more  and  more  satisfied  that  tunes  must  be 
made  more  simple  in  time,  and  limited  in  compass  of  melody,  to 
insure  success  in  this  form  of  church  song.  The  St.  Nicholas 
Church  in  Worcester,  England,  has  the  true  Congregational  style, 


164  SACRED   HARMONIC   SOCIETY. 

and  when  that,  which  we  have  heretofore  described,  shall  univer- 
sally prevail,  Congregational  singing  will  be  excellent  and  effective. 

We  have  recently  attended  a  rehearsal  of  the  London  Sa- 
cred Harmonic  Society,  under  the  direction  of  Mr.  J.  Surman, 
There  are  two  societies  meeting  in  Exeter  Hall ;  the  Sacred 
Harmonic  Society,  under  the  direction  of  Mr.  Costa,  and  the 
one  before  mentioned.  There  were  about  one  hundred  and 
fifty  members  of  the  choir  present  at  the  meeting  of  the 
London  Sacred  Harmonic  Society,  with  an  accompaniment  of 
about  twenty  stringed  instruments.  A  new  Anthem,  by  Dr. 
Elvey,  of  Windsor,  was  sung,  and  also  Mozart's  Twelfth  Mass. 
The  performance  was  decidedly  poor — vastly  inferior  to  the 
German  choruses  which  we  have  recently  described.  The  time 
was  tolerably  well  kept,  but  tune  was  far  enough  from  accuracy. 
The  same  feeling  about  for  the  pitch,  and  uncertainty  of  tone, 
was  observable  in  the  more  difficult  modulations,  which  is  so 
common  with  our  untrained  New  England  choirs;  with  this 
difference,  however,  that  ive  occasionally  stop  to  correct  a  badly- 
intoned  passage,  whereas  here  it  was  passed  over  as  if  unob- 
served, or  as  if  such  a  dissonant  performance  had  become  a 
matter  of  habit.  There  was,  too,  an  absence  of  all  those  things 
that  go  to  make  up  a  good  choral  performance,  as  Forte  and 
Piano,  Sforzando,  Syncopated  accent,  distinctness  and  clearness 
of  vocal  utterance,  dr.  The  leader  would  occasionally  sing  out 
at  the  top  of  his  voice,  "  Piano,"  but  he  did  not  seem  to  expect 
that  attention  would  be  given  to  what  he  said,  and  kept  on, 
under  a  pi-ess  of  sail,  until  another  opportunity  should  occur  for 
calling  out  with  like  result. 

This  was,  indeed,  a  rehearsal ;  but  if  a  choir  is  permitted  to 
sing  thus  in  rehearsal,  will  they  not  form  habits  that  will  pre- 
vent improvement,  and  will  not  the  public  performances  be  of 
the  same  general  character  % 


SPOHR  165 

The  violins  were  badly  played.  One  could  hardly  help  com- 
ing to  the  conclusion  that  they  wore  mostly  beginners,  assembled 

for  practice.  It  would  not  he  surprising  to  hear  as  bad,  or  even 
a  worse,  rehearsal,  on  the  Western  Continent;  but,  in  Europe 
there  should  be,  at  least,  a  correct  performance  of  the  technicals 
of  music,  if  not  something  belonging  to  the  higher  department 
of  appropriate  expression. 

The  contrast  between  the  singing  of  this  choir,  and  that  of 
many  of  the  choirs  which  we  have  heard,  during  the  last  six 
months,  in  Germany,  is  very  striking  indeed,  and  tells  much  to 
the  praise  of  the  latter  with  respect  to  progress  in  the  perform- 
ance of  vocal  music. 

We  have  not  spoken  of  the  great  singers ;  the  fact  is,  they 
have  been  often  described  and  criticized ;  and  then,  again,  we 
have  not  had  opportunities  of  hearing  them  often  enough  to 
come  to  a  full  appreciation  of  their  various  positive  or  compar- 
ative excellencies;  and,  besides,  it  is  with  respect  to  church 
music  that  we  wish  more  particularly  to  make  report.  Mad. 
De  la  Grange,  of  whom  we  wrote  from  Leipzig,  has  been  sing- 
ing lor  some  time  past  with  good  success.  Grisi,  Mario,  Formes, 
Lablache,  Castellan.  Favanti,  and  others  of  less  distinction,  are 
singing  as  usual ;  and  the  papers  tell  us  that  the  most  charming 
artist,  Henrietts  Sontag,  is  engaged  for  a  short  time  in  Lon- 
don, previous  to  her  departure  for  America.  There  is  no  singer 
wh<>  seems  to  give  more  universal  delight  than  Mad.  Sontag; 
and  we  are  truly  glad  that  there  will  ere  long  be  opportunities 
of  hearing  her  on  the  western  shores  of  the  Atlantic. 

The  great  composer  and  violinist,  Spoiir,  is  now  here,  super- 
intending the  performance  of  his  opera,  Faust,  in  which   he  has 

been  wry  Buccessful.     It  has  had  several  representations  to  full 

.  ami  the  author  has  been  much  honored.      But  the  opera 

is  too  good  (musically  considered)  to  be  \\  ry  popular.     Mu>i- 


166  WEIGH  HOUSE    CHAPEL. 

cians  will  delight  to  hear  it ;  but  it  contains  too  much  musical 
learning  for  the  many.  The  lighter  and  more  unmeaning  com- 
positions of  the  Italians  are  better  appreciated. 

"  It  is  very  good,  it  will  do  for  the  Germans,"  said  a  French- 
man, as  he  came  away  from  hearing  Faust. 

Yes,  it  will  do  for  the  Germans,  provided  they  be  musically- 
educated  Germans  ;  but,  whatever  be  the  country  to  which  one 
belongs,  or  in  which  he  was  born,  he  cannot  understand  or  like 
Spohr,  unless  he  has  a  cultivated  musical  taste.  He  is  a  great 
and  a  learned,  but  he  can  never  be  a  popular,  writer.  He  is 
too  good  for  common  use. 

On  Sabbath  last  we  attended  Rev.  Mr.  Binney's  church,  Fish 
Street  Hill,  Weigh  House  Chapel.  Mr.  Binney  was  in  Amer- 
ica a  few  years  since,  and  is  well  known  to  many  persons  there. 
He  is  not  only  an  excellent  preacher ;  but,  although  not  a  mu- 
sician, he  is  a  lover  of  music,  and  has  done  much  to  promote 
psalmody  among  his  own  people.  The  order  of  the  service  in 
his  church  is  most  beautiful ;  I  hardly  know  that  it  could  be 
improved ;  it  is  as  follows : 

I — Invocation.  The  Lord's  Prayer  alone  was  used  the  Sabbath  we  were 
there. 

II — Hymn. 

Ill— Reading  first  lesson  from  Scriptures. 

IV — Prayer — half  as  long  as  the  long  prayer  in  American  churches. 
V — Psalm,  chanted. 

VI — Reading  second  lesson  from  Scriptures — New  Testament. 
VII — Prayer,  about  the  length  of  former. 
VIII— Hymn. 
IX — Sermon. 
X — Anthem,  a  hymn. 
XI — Very  short  prayer,  and  benediction. 

There  is  no  choir  ;  the  singing  is  congregational,  and  led  by 


CONGREGATIONAL  SINGING.  167 

a  precentor.  It  wag  quite  good  ;  one  does  not  often  hear  a 
better  performance  of  this  part  of  the  public  worship,  but  yet 
it  would  be  much  Improved  if  ample  tunes,  appropriate  to  Con- 
gregational singing,  were  substituted  tin-  tin-  too  difficult  ones 
attempted  on  the  Sabbath  we  were  present.  A  peculiarity  of 
the  singing  here,  is,  that  the  whole  congregation  engage  in 
chanting.  The  24th  Psalm  was  chanted  to  one  of  the  plain  old 
English  chants,  with  an  effect  far,  very  Tar  better  than  one  hears 
when  he  listens  to  the  trained  Cathedral  choirs.  We  have 
heard  it  said  that  a  congregation  cannot  chant  together.  It  is 
not  true :  this  congregation  kept  quite  well  together ;  nearer 
together  than  such  Cathedral  choirs  keep,  as  we  have  heard.  A 
very  little  practice  of  such  a  chant  as  Tains'  or  Dr.  Turner's, 
will  prove  the  truth  of  this  assertion.  Another  peculiarity  of 
the  singing  here,  is,  that  the  congregation  sing  anthems.  They 
a  little  book  containing  a  collection  of  three  anthems  for 
congregational  use.  Smile  not  at  the  number ;  it  is  sufficient 
for  their  purpose ;  and,  when  more  are  required,  they  can  easily 
be  obtained.  Anthems,  however,  for  Congregational  use,  must 
have  a  simplicity  such  as  can  hardly  be  imagined  by  oneaccus- 
tomed  to  the  chants  that  commonly  prevail  in  choirs.  We  are 
fully  satisfied  that  not  only  Congregational  hymn-tune  singing, 
but  Congregational  anthem  singing,  and  chanting,  may  be  suc- 
cessfully introduced  where  there  is  a  desire  for  it,  and  where 
there  is  a  necessary  knowledge  to  guide  in  the  selection  of  ap- 
propriate pieces;  and  we  should  not  be  afraid  to  undertake  to 
insure  success  to  a  congregation  who  would  give  us  one  or  two 
hours  preparatory  practice.  Mr.  Binney's  sermon,  on  Christian 
growth  and  development,  was  most  able  and  satisfactory.  The 
standing  posture  was  observed  in  singing,  and  the  sitting  pos- 
ture in  prayer  and  the  other  exercises. 

From  Mr.  Binney's  we  went  directly  to  fche  Chapel  Royal, 


1GS  REV.    BAPTIST    W.  NOEL'S   CHAPEL. 

St.  James,  where  we  heard  an  excellent  organist,  a  poor  choir, 
and  an  uninteresting  preacher. 

Hence  to  Westminster  Abbey,  at  three  o'clock.     Excellent 
organ  playing,  but  all  else  very  indifferent. 


LETTER    XL. 

Church  Music  in  the  Chapel  of  Rev.  Baptist  W.  Noel. 

Mr.  Noel  has  been,  until  recently,  a  clergyman  of  the  Estab- 
lished Church  ;  he  left  this  a  few  years  since,  and  is  now  the 
pastor  of  a  large  and  flourishing  Baptist  congregation  in  John 
street.  We  have  not  often  attended  a  public  religious  service 
more  satisfactory  than  that  in  his  chapel ;  and  we  know  not  that 
we  have  ever  listened  to  a  preacher  with  greater  interest.  His 
subject,  the  morning  we  heard  him,  was  The  Sabbath.  His 
text,  Isaiah  lviii.  13,  14, — "If  thou  turn  away  thy  foot  from  the 
Sabbath,  from  doing  thy  pleasure  on  my  holy  day ;  and  call 
the  Sabbath  a  delight,  the  holy  of  the  Lord,  honorable ;  and 
shalt  honor  him,  not  doing  thine  own  ways,  nor  finding  thine 
own  pleasure,  nor  speaking  thine  own  words :  Then  shalt  thou 
delight  thyself  in  the  Lord ;  and  I  will  cause  thee  to  ride  upon 
the  high  places  of  the  earth,  and  feed  thee  with  the  heritage  of 
Jacob  thy  father,  for  the  mouth  of  the  Lord  hath  spoken  it." 
The  heads  of  his  discourse  were — 

1.  The  authority  for  the  Sabbath. 

2.  The  reasons  for  keeping  the  Sabbath. 

3.  The  manner  of  keeping  the  Sabbath. 

4.  The  blessings  of  keeping  the  Sabbath. 

Such  a  clear  and  convincing  argument  for  the  Sabbath,  and 


REV.  BAPTIST   W.  NOEL.  169 

o  perfectly  plain  and  easy  to  be  understood,  we  know  not 
that  we  ever  heard  before. 

The  manner  of  the  preacher,  whether  it  relates  to  general 
pulpit  deportment  or  to  style  of  delivery,  is  admirable.  His 
appearance  La  very  plain,  being  without  the  ornament  of  sur- 
plice,  gown,  or  bands.  1  [e  is  dignified  and  solemn,  without  the 
Least  approach  to  formality  or  ceremoniousness.  His  voice  is 
not  remarkably  good  (it  is  strange  that  preachers  do  not  try 
more  to  improve  quality  of  voice),  yet  not  disagreeable,  and 
his  speech  is  excellent.  Every  word  and  syllable  is  beautifully 
spoken,  with  a  clear  and  distinct  articulation,  but  yet  so  natu- 
ral and  easy  as  to  be  far  removed  from  affectation  of  exactness 
or  precision.  He  appears  to  be  entirely  free  from  the  scolding 
Btyle  on  the  one  hand,  and  the  canting  or  whining  on  the  other; 
nor  does  he  assume  the  dictatorial,  authoritative  way  that  is 
sometimes  seen,  which  seems  to  say,  "  Listen  to  me  ;  I  am  the 
Doctor'/'  Yet  there  is  a  clearness  and  thoroughness  in  his 
treatment  of  a  subject  which  makes  one  feel  that  he  is  in  the 
presence  of  a  teacher  who  needcth  not  to  be  ashamed,  and  of  a 
preacher  who  rightly  divines  the  word  of  truth. 

But  I  am  forgetting  the  psalmody.  There  is  neither  organ 
nor  choir  in  Mr.  Noel's  chapel.  The  singing  is  entirely  Con- 
gregational,  and  is  led  by  a  precentor,  who  occupies  a  secondary 
pulpit  in  front  of  that  of  the  minister,  and  who,  in  addition  to 
his  singing  duties,  reads  the  notices.  He  gives  out  the  hymn, 
proclaiming  its  number,  and  also  at  the  same  time  gives  the 
name  of  the  tune;  then  he  reads  a  stanza  which  is  immediately 
snug  by  all  the  people,  and  in  like  manner  the  succeeding 
stanzas  are  read  and  sung.  It  is  not  eas)  to  Bee  why  the  stanza 
is  read  before  it  is  sung,  since  all  the  people  have  hymn-books, 
and  many  of  them  also  tune  books.  The  singing  of  the  psalms 
was  as  good  as  may  be  expected  where  choir  tune*  are  used  for 

8 


170  CONGREGATIONAL  SINGING. 

congregational  purposes.  The  tunes  here  were  altogether  too 
difficult  for  the  people's  use ;  difficult  in  rhythmics  and  difficult 
in  melodies.  The  attempt  too,  to  sing  in  parts,  was  not  in  all 
cases  productive  of  the  greatest  good  ;  for  example :  We  stood 
by  the  side  of  a  young  man  who  was  furnished  with  a  tune  book 
containing  only  the  bass  part.  In  the  first  tune  we  sung  out 
the  bass  with  as  much  voice  as  we  could  conveniently  com- 
mand, but  with  the  second  tune  we  were  unacquainted,  and 
could  not  therefore  join  in  the  exercise.  This  was  observed  by 
the  young  man,  who  drew  near  and  held  out  his  bass  part,  thus 
enabling  us  to  sing.  But  he,  while  he  was  looking  carefully 
first  at  his  hymn  book  and  then  to  his  tune  book,  so  as  to  be 
sure  and  be  right,  was,  with  his  bass  part  before  him,  singing 
all  the  way  the  treble  part,  two  octaves  below  the  pitch  !  How  a 
little  knowledge  may  expose  one's  ignorance  ! 

The  general  effect  of  the  singing  was,  notwithstanding  these 
drawbacks,  very  good,  vastly  better  than  some  of  the  attempts 
at  musical  display  winch  we  have  witnessed  in  churches  in 
England  and  on  the  Continent ;  and  if  it  was  not  musically  at- 
tractive, it  was  religiously  edifying,  and  served  to  revive  the 
affections  and  lift  them  upwards. 

The  standing  position  was  observed  in  singing,  and  the  sit- 
ting position  in  prayer.  The  people  generally  had  Bibles,  and 
often  referred  to  the  texts  which  the  preacher  quoted. 


DUSSELDORF   FESTIVAL.  171 


LETTER    XLI. 

Great  Magical  Festival  at  Daaaetdoift 

Dcsseldort,  Sept.  18,  1852. 

We  had  heard  of  this  festival,  but  had  given  up  all  expecta- 
tion of  attending  it.  because  of  distance,  time  and  expense,  and 
supposed  we  had  left  Germany  not  to  return,  until  we  had  the 
pleasure  of  meeting  in  London,  the  celebrated  composer,  Spohr, 
who  was  there  superintending  and  directing  the  performance  of 
"Faust."  Upon  the  recommendation  of  so  distinguished  a 
man,  we  decided  to  retrace  our  steps,  and  make  the  journey 
back  again  to  Germany,  for  the  purpose  of  seeing  and  hearing 
what  we  could  of  the  musical  gathering  at  Dusseldorf,  (in 
Prussia,)  hoping  that  we  might  learn  something  from  it,  or  that, 
at  least,  such  an  imperfect  report  of  it  as  we  might  be  able  to 
give,  would  be  interesting  to  our  home  musical  friends,  all  of 
whom  we  suppose  are,  or  certainly  ought  to  be,  readers  of  The 
Musical  World.  Accordingly  we  left  London  on  Thursday, 
29th  of  July,  at  twelve  o'clock,  in  the  steamer  for  Antwerp, 
where  we  arrived  at  six  the  next  morning.  We  stopped  long 
enough  to  visit  the  Cathedral,  and  the  Church  of  St.  James, 
where  we  heard  a  part  of  a  mass  sung  by  the  priests,  with  organ 
accompaniment.  The  effect  was  solemn  at  the  early  morning 
hour,  but  there  was  nothing  in  the  performance  peculiar,  or  dif- 
fering from  what  one  hears  in  all  Roman  Catholic  places.  Leaving 
Antwerp  at  half-past  nine,  A.  M.,  we  arrived  at  Cologne  at  six 
o'clock.  P.  M.  Here,  on  the  following  morning,  we  had  another 
opportunity  of  wandering  about  through  the  great  unfinished 
Cathedral,  and  the  unexpected  pleasure  of  meeting  two  Ameri- 
can friends,  Rev.  Dr.  W.  and  son,  from  New  York,  with  whom 
we  spent  several  hours  in  visiting  places  of  interest,  and  who 
accompanied  us  to  Dusseldorf.     The  fine  Church  of  St.    P<  I 


172  CHUECH   OF  ST. 'PETER. 

was  one  of  the  places  we  visited.  At  this  church  is  one  of  Ru- 
ben's great  pictures,  "  The  Crucifixion  of  St.  Peter.''''  This  cele- 
brated picture  was  taken  away  from  Cologne  by  Napoleon,  and 
was  placed  in  the  Gallery  of  the  Louvre,  at  Paris,  where  it  re- 
mained for  many  years.  Its  place  was  supplied  by  an  artist  at 
Cologne,  who  painted  the  same  subject  from  recollection.  On 
the  return  of  Ruben's  picture  to  Cologne,  that  which  had  been 
furnished  by  the  modern  artist,  and  which  had  occupied  the 
place  of  the  great  picture,  was  retained  in  the  church,  and  so 
placed  at  the  back  of  the  Ruben's  that  the  two  may  be'seen  in 
immediate  succession,  by  the  turning  of  a  pivot.  The  contrast 
is  most  striking  and  instructive;  for,  although  the  modern 
painter  undoubtedly  deserves  much  credit  for  his  very  successful 
effort,  one  is  most  forcibly  struck  with  the  amazing  power  of  the 
great  artist,  by  viewing  the  two  pictures  in  such  close  connec- 
tion. The  church  of  St.  Peter  contains  a  very  fine  organ,  one  of 
the  best  we  have  ever  heard.  In  the  clearness,  firmness,  de- 
cision, and  stability  of  its  tones,  it  is  not  excelled.  Leaving 
Cologne  at  eleven  o'clock,  A.  M.,  we  arrived  at  the  end  of  our 
journey  in  an  hour  and  a  half. 

Dusseldorf  is  a  pleasant  German  town,  of  nearly  forty  thou- 
sand inhabitants,  a  large  majority  of  whom  are  Roman  Catho- 
lics. The  Festival  was  oue  of  the  "  Grosses  Manner  gesang 
feste,"  (great  men-singing  festivals,)  common  in  some  parts  of 
Germany,  at  which  singing  societies,  consisting  entirely  of  men, 
in  a  certain  district  of  country,  assemble  and  spend  three  or 
four  days  in  musical  and  other  festivities.  The  primary,  or 
professed  object  of  these  meetings  is,  to  sing  (strive  or  contend 
by  song)  for  certain  prizes.  Valuable  pieces  of  plate  are  pre- 
pared and  awarded  to  the  most  successful  chorus  performances. 
In  addition  to  this,  premiums  are  given  for  the  best  original 
vocal  compositions.     On  the  present  occasion  there  were  three 


DUS8ELD0BF  FESTIVAL.  173 

premiums  given  for  compositions,  and  seven  prizes  awarded  for 
the  most  approved  performances.  The  most  highly-valued 
prize  was  an  elegantly-wrought  vase  of  silver,  presented  by  the 

iment  of  the  city  of  Dusscldorf ;  the  others  were  vases  or 
cups  of  silver  of  various  tonus,  and  beautiful  workmanship,  pre- 
sented by  individuals,  or  procured  at  the  mutual  expense  of  the 
societies.  There  were  present  on  this  occasion  twenty  singing 
societies,  consisting  of  from  twenty  to  sixty  members  each,  be- 
tides delegations  from  twenty-nine  other  societies,  who  did  not 
enter  as  competitors  for  the  prizes.     The  competing  societies 

divided  into  three  classes,  according  (as  we  were  told)  to 
the  number  of  inhabitants  of  the  town  to  which  they  belonged, 
though  there  may  have  been  some  other  principle  of  classifica- 
tion with  which  we  were  not  made  acquainted.  There  were  two 
prizes  prepared  for  the  first,  two  for  the  second,  and  three  for 
the  third  class.  The  following  named  persons,  all  com]  i 
of  high  standing,  constituted  the  two  Committees,  or  Boards  of 
Judicature,  by  whom  the  awards  were  made: 

COMMITTEE    ON    COMPOSITIONS. 

II.  it  Musik  Director.  Robert  Sciumann.  Dusscldorf 

Musik  Director,  Ferdinand  Hillkb,  Pari*, 
II  err  Musik  Director,  L.  Spoiir,  CasseL 
Herr  Musik  Director,  Julius  Tausch,  Dusscldorf. 

Herr  Musik  Director,  W.  Knappe.  Dusseldorf 

COMMITTEE    ON    PERFORMANCES. 

II. -it  Musik  Director,  Row  rt  s.  oumakn,  Dus-eldorf. 
Herr  Musik  Director,  Bertklsmana,  Amsterdam. 
Herr  Componist,  Ban  u.  Mains. 

Capellmeiater,  Fuohks,  Mains. 

k  Director,  Ferdinand  IIii.i.er.  Paris. 
Hen  Frankfurt. 

Herr  Capellmeister,  ELuBhaedt,  Berlin. 
Herr  Musik  Director,  Taubch,  Dusseldorf 
Herr  Musik  Director,  Kwimt.  Duaaeldorf. 


174  DUSSELDOKF    FESTIVAL. 

Here  is  an  array  of  musical  strength,  surely ;  and  it  was  no 
small  gratification  to  sit  and  look  around  upon  the  individuals, 
and  to  observe  the  physiognomies  of  these  distinguished  men, 
during  the  performances  to  which  they  were  listening,  and  with 
respect  to  the  comparative  merits  of  which  they  were  soon  to 
express  an  official  and  public  opinion.  "With  some  of  these 
gentlemen,  thus  assembled  from  various  parts  of  Europe,  we 
had  the  pleasure  of  a  mediate  interview,  conversing  through  an 
interpreter,  and  especially  with  Herr  Componist  Messer,  of 
Frankfurt,  Director  of  the  Orchestral  Concerts  there,  whose 
compositions  for  stringed  instruments,  and  for  full  orchestra, 
are  so  well  known  and  much  approved.  Herr  Messer's  lodg- 
ings were  at  our  hotel,  and  we  had,  at  least,  a  good  long  'Ger- 
man-dinner interview  with  him  daily.  He  is  a  very  thorough 
musician,  scientific  and  artistic,  and  is  well  acquainted  with  the 
works  of  the  most  celebrated  composers,  from  Palestrina  down 
to  Mendelssohn.  Like  many  of  the  Germans  whom  we  have 
met,  he  was  polite  and  attentive,  and  always  ready  to  commu- 
nicate information  to  American  visitors. 

The  performance  commenced  on  Sunday,  1st  August,  at  five 
o'clock,  P.  M.  The  morning  was  much  occupied  (as  the  pre- 
vious day  had  been)  in  making  various  preparatory  arrange- 
ments, and  in  ornamenting  the  city,  especially  those  streets  and 
squares  through  which  processions  were  to  pass.  The  streets 
(many  of  them  narrow  and  without  sidewalks)  were  filled  with 
workmen  and  lookers-on.  Branches  and  boughs  of  trees,  as 
pines,  birches,  maples  and  the  like,  were  brought  into  town  in 
abundance,  and  planted  on  each  side  at  short  distances,  so  as  to 
give  the  idea  of  pleasant  woods,  thick  groves,  and  cool,  shady 
parks.  The  fields  and  the  gardens  yielded  up  their  flowery 
treasures,  and  windows,  doors,  balconies,  walls,  corridors,  and 
aisles  were  decorated  with  garlands  and  festoons  of  Nature's 


DUSSELDORF    FESTIVAL.  175 

ind  pendants  were  suspended  from  the 
windows,  and  waved  from  the  roofs  of  the  buildings;  the 
Prussian  eagle  proudly  spread  her  wings  upon  the  walls  of 
many  houses;  the  colors  of  the  German  States  were  waving 
harmoniously  together,  and  the  banners  of  the  Fine  Arts,  with 
appropriate  inscriptions,  particularly  those  of  music,  poetry  an. «.l 
painting,  were  especially  honored,  and  floated  triumphant  amidst 
tandards  of  electorates,  dukedoms,  and  kingdoms.  The 
dwellings  of  the  inhabitants,  which  were  very  generally  opened 
for  the  gratuitous  lodgings  of  the  singing  guests,  were,  many  of 
them,  most  beautifully  ornamented,  and  various  ensigns, 
armorial  devices,  or  mottos  in  garland  frames,  were  suspended 
from  the  walls,  often  crossing  the  streets  from  house  to  house, 
welcoming  the  sons  of  song,  telling  of  music's  praise,  or  pro- 
claiming the  divinity  of  art.  Indeed,  art  seems  to  be  the  only 
God  to  whom  many  here  pay  their  vows. 

\-  -i\  o'clock  in  the  morning  (Sunday)  we  attended  a  Roman 
Catholic  service,  consisting  much  in  choral  singing.     At  half- 

_rlit  we  went  to  the  ';  Kleine  Kirche,"  Protestant.  The 
house  was  crowded,  and  many  were  standing ;  the  service  was 
simple,  without  liturgy,  and  not  differing  much  from  the  Con- 
gregational or  Baptist  form  of  worship  in  the  United  States. 
From  this  we  went  at  ten  o'clock  to  the  "  Grosser  Kirche," 
:  Votestant.  Here  the  house  was  larger,  but  the  congrega- 
tion smaller.  The  order  of  service  was  nearly  the  same ;  the 
organist  acted  also  as  precentor,  or  leader  of  the  singing;  be- 
sides him  there  was  no  choir ;  he,  both  by  his  instrument  and 
hi-  voice,  caused  himself  to  be  heard.     As  we  left  the  church, 

and  the  streets  crowded  with  people;  men,  women  and 
children,  arrayed   in  gay  attire,  bearing  flowret  wreath. 

of  woody  green,  all  manifesting  tin-  highest 
pectation,  eagerness  and  joy  ;  and,  indeed,  the  whole  population 


176  DUSSELDORF    FESTIVAL. 

seemed  to  be  full  of  animation,  gaiety  and  gladness,  joyfully 
welcoming  this  commencement  day  of  festal  mirth. 

Some  of  the  societies  arrived  on  Saturday  evening.  "  These 
were  greeted  in  the  most  friendly  manner,"  says  a  Dusseldorf 
paper,  "  and  conducted  by  the  Committee  of  Arrangements  to 
the  various  families  in  the  town  who  were  expecting  them, 
where  they  spent  the  happy  evening  midst  the  chink  of  wine- 
glasses, joke  and  song."  At  about  eleven  o'clock,  (Sunday,) 
the  singing  societies  of  Dusseldorf,  together  with  such  of  the 
visitors  as  had  already  arrived,  assembled  at  the  Hotel  "  Prince 
of  Prussia,"  and  at  the  railroad  station  near  by,  to  receive  the 
various  societies  as  they  came  in  by  the  different  trains.  When 
all  had  arrived,  or  at  about  twelve  o'clock,  a  grand  procession 
was  formed,  numbering  over  sixteen  hundred  singers,  which,  ac- 
companied by  two  bands  of  music,  one  at  the  head  and  the 
other  in  the  centre,  amid  the  ringing  of  bells,  the  roaring  of 
cannon,  the  waving  of  banners,  and  the  shrill  sound  of  trumpet 
and  drum,  moved  triumphant  through  various  streets,  to  the 
"  Rath-haus."  Beautiful  faces  were  seen  at  the  windows  of  the 
houses,  and  smiling  and  joyful  countenances,  and  the  waving  of 
handkerchiefs,  cheered  the  spirits  of  those  who  were  already  not 
a  little  excited.  The  square  in  which  the  "Rath-haus"  is  situ- 
ated, was  filled  by  the  dense  crowd,  and  presented  a  most 
brilliant  appearance.  It  was  everywhere  decked  with  flowers 
and  flags ;  and  from  its  centre  the  statue  of  the  Elector  Johann 
Wilhelm,  seemed  to  look  on  with  approbation,  participating  in 
the  general  joy.  When  the  societies  had  assembled  in  the 
large  hall  of  the  "  Rath-haus,"  they  were  addressed  by  the 
"  Burgermeister,"  (Mayor)  who,  in  a  short  speech,  bid  the  sing- 
ers welcome  to  the  town.  He  met  an  immediate  response,  in 
the  three  times  "  Hurrah  for  Dusseldorf,"  which  the  assembled 
singers  immediately  raised,  and  in  which  they  were  joined  by 


AL.  1»  ' 

themultitn  •"•  -•     A^  BOOn  as 

P 

fthe  Mayor,  in  the  name  of 
multitude.     This  speech       f  with 

urish  of  trumpets  and  drums,  and  the  merry 
zza   for   D  '.'"    "Huzza   for  the   Burgermeis 

oved 

ther  hall,  where  ITerr  Director  W.  Dietze  reeil 

nor.  contained  in  a  splendi 
t  from  his  royal  highness  Prince  Frederick.)  a  beautiful 
poetir  'at  the  close  of  this,  when  th 

had  been    well    emptied,   and   the   wine   of  honor   had   been 
sprinkled  upon  the  banners  of  song,  lots  were  drawn  to  decide 
rder  of  the  singing  of  each  society,  and  text-books,  order 
of  performance,  and  cards  of  admission,  were  distributed  to  the 
members.     The  company  then  adjourned  to  attend  to  the  ini- 
tiate wants  of  the  physical  man. 
At  l'.ur  o'clock  the  societies  assembled  again  in  the  court-yard 
of  the  "Gymnasium.*"   where   they  were    addressed    by   Mr. 
Achenbach,  one  ofth  ••  -<1  painters  in  the  place, 

•ival.)  and 

welcomed  in  the  name  of  the  uDu  Society  of 

ion  was  now  again  formed,  and  the  per- 

Inted  havi  ed  from  the  place  w<  re  they  were 

Bafe-keeping  ittering  prl  Id  and  sil- 

1  in  grand  display  towards  the  Geisaler  Gardens. 

incea  were  to  take  place;  on] 

Prin,  snzollern,  (a  patron  i  th/n- 

arrival  at  I  the  multit 

of  the  vast  Musi  which  had 

modation.     It  was  <  i  the  glowing  countenan 

8# 


178  DUSSELDOEF    FESTIVAL. 

the  guests,  in  their  general  movements  and  gesticulations,  that 
the  splendid  arrangements,  which  they  now  beheld  for  the  first 
time,  far  surpassed  their  expectations.  The  hall  is  one  hundred 
and  eighty  feet  long,  seventy-six  wide,  and  forty  feet  high.  It 
was  most  tastefully  decorated  with  flags,  busts,  portraits,  in- 
scriptions, paintings,  plants  and  flowers.  Over  the  chief  entrance 
were  placed  the  arms  of  the  royal  house  of  Prussia,  and  of  his 
highness  the  Prince  of  Hohenzollern-Sigmaringen.  The  stage 
at  the  other  end  was  decorated  with  the  Prussian  and  Dussel- 
dorf  arms,  and  also  the  arms  of  the  "  Society  of  Men-singers," 
and  the  Society  of  painters  "  Malkasten."  Emblems  of  music, 
painting,  poetry  and  sculpture,  and  the  portraits  or  names  of 
distinguished  conmosers,  authors  and  artists,  were  suspended 
from  the  walls.  There  were  also  arrayed,  in  various  places, 
the  names  of  the  different  towns  to  which  the  societies  joining 
in  the  competition  belonged,  and  the  names  of  such  towns  as 
sent  deputations  to  the  festival.  The  columns  and  rafters  were 
gilded,  or  painted  in  gayest  colors,  and  the  whole  presented  a 
fairy-like  appearance,  and  especially  so  in  the  evening  when 
brilliantly  lighted  with  gas ;  so  that  it  seemed  some  Elysian  or 
Paradisian  abode,  rather  than  a  portion  of  tins  sin-blighted 
world. 

At  a  little  past  five  o'clock,  when  the  house  was  filled  with  an 
anxious  and  deeply-interested  audience,  and  the  singers,  some- 
what over  sixteen  hundred  in  number,  all  men,  filled  the  stage, 
leaving  room  only  for  the  performing  society  in  the  centre — 
and  in  front,  and  in  view  of  all  the  people,  the  brilliant  prizes, 
vases  and  cups,  were  tastefully  arranged — the  performance  be- 
gan. A  flourish  of  trumpets  and  drums  came  first,  then  an 
overture,  and  then  a  grand  vocal  and  instrumental  chorus  of 
welcome  greeting  by  the  united  Dusseldorf  Societies.  A  most 
charming  choral  performance  of  power  and  grandeur  it  was  in- 


DUSSELDORF    FESTIVAL.  179 

deed,  such  as  to  call  forth  loud  applause  from  the  visiting  socie- 
ties and  from  the  large  company  of  spectators.  This  was  the 
only  performance  of  the  Dusseldorf  Societies,  since,  as  a  mat- 
tar  of  etiquette,  none  of  them  engaged  in  the  singing  for  prizes. 
Tin-  competition-singing,  harmonious,  now  began,  and  the  differ- 
ent societies  followed  in  quirk  succession.  The  name  of  the 
society  about  to  sing  was  announced  by  a  placard  so  dis] 
as  to  be  seen  by  Che  whole  assembly,  and  also  by  the  standard 
or  banner  of  the  society,  which  always  preceded  the  members 
as  they  came  forward  on  the  stage,  and  waved  encouragement 
over  them  while  they  contended  for  the  prize.  It  may  be  re- 
marked, that  many  of  these  banners  were  very  elegant,  being 
made  of  the  richest  velvet  or  satin,  with  gold  or  silver  embroi- 
dery of  mottos,  or  emblematic  figures.  Each  society  sang  two 
pieces,  under  its  own  director,  entirely  without  accompaniment. 
After  six  societies  had  sung,  a  recess  of  half  an  hour  was  pro- 
claimed, when  the  vast  multitude  retired  to  the  garden,  where 
greetings  were  given  and  friends  welcomed,  and  refreshments 
abundant  were  passed  round,  with  "wine  which  makcth  glad 
the  heart  of  man.""  It  was  interesting  to  move  about  among 
the  thronged  avenues  and  crowded  tables,  see  the  eating  and 
drinking  and  smoking,  and  hear  the  mirthful  laugh  and  lively- 
prattle  of  the  busy  people.  It  was  fraught  with  instructive  les- 
too  ;  but  we  must  not  moralize  now,  but  only  attempt  to 
describe.  The  half-hour  having  been  prolonged  by  one  half  or 
more,  the  sound  of  the  trumpet  was  heard,  calling  again  to  ac- 
tion, and  soon  the  contest  was  resumed.  Five  more  societies 
sang,  making  eleven  in  all  on  this  first  day  of  performance,  all 
of  which  belonged  t<>  the  third  class.  It  will  not  be  expected 
that  we  should  attempt  to  remark  upon  the  singing  of  the  dif- 
ferent societies;  there  was  quite  a  wide  range  from  to! 
good(X\\QTQ  was  no  performance  positively  bad)  up  to  that  which 


180  DUSSELDOEF    FESTIVAL. 

approached  as  near  to  perfection  as  is  often  found  even  in  mu- 
sic's chosen  land.  It  was  not  difficult,  however,  to  decide  to 
which  society  belonged  the  first  prize  for  the  performances  of 
this  day. 

At  the  close  of  the  performance  the  crowd  gradually  dis- 
persed, moving  slowly  back  into  the  town,  which  was  now 
splendidly  illuminated.  The  singing  societies  again  formed  in 
order,  and  each  person  bearing  upon  a  rod  six  or  eight  feet  in 
length  a  colored  light,  the  whole  moved  through  the  principal 
streets,  in  grand  torch-light  procession,  brilliant  and  dazzling. 
This  being  ended,  the  singers  retired  to  a  large  hall,  where 
things  good  to  the  palate  and  quickening  to  the  spirits  had  been 
bountifully  provided,  and  which  were  (even  in  Germany)  sum- 
marily disposed  of.  Toasts  and  speeches  followed,  which  we 
cannot  record  here  ;  except  that  we  will  merely  mention  that 
Herr  Capellmeister  G.  Eeichardt  of  Berlin,  in  reply  to  one  of 
the  toasts,  gave  a  brief  history  of  the  origin  and  progress  of 
the  men-singing  festivals  in  Germany.  He  said  they  were  com- 
menced in  Berlin  in  1809,  when  the  great  Zelter  first  called 
them  into  life.  After  he  had  finished  his  remarks,  the  whole 
company  sang  one  of  Reiehardt's  patriotic  songs.  The  even- 
ing's entertainment  was  continued  until  it  was  no  longer  even- 
ing ;  and  not  until  the  light  of  day  had  arisen  upon  these  sons 
of  song,  did  they  disperse  to  seek  for  a  few  moments'  rest  be- 
fore the  duties  of  the  day,  already  began,  should  call  them 
again  to  contend  for  the  prize. 

Monday,  2d  August.  Commenced  with  a  general  breakfast. 
Singers,  guests,  strangers,  and  inhabitants  assembled  at  the 
"  Ananas  Mountain"  (a  little  eminence  situated  in  a  delightful 
park,  a  short  distance  from  the  town),  to  take  coffee,  listen  to 
"  harmonie,"  and  engage  in  conversation,  with  pipes  and  "  cigar- 
ren."     This  was  not,  however,  at  "  table  d'hote,"  as  is  a  break- 


DUSSELDOBF    FESTIVAL,  181 

fi<t  usually  served  with  us,  but  little  companies  of  two,  or  four, 
or  ten  sat  down  together,  ordering  from  the  card  such  thii 
hose.    Preparations  had  been  made  by  the  commit* 

amenta,  which  were  furnished  at  fixed 
and  r  .     The  prices  of  the  various  iwere 

1  ap  on  pli  ry  one  might  know  the  price 

of  what  he  ordered,  and  thus  imposition  be  pr<  vented. 

r  the  breakfast,  the  singers  spent  the  forenoon  in  visiting 
the  different  picture-galleries  and  other  collections  of  curiosities, 
all  of  which  were  opened  gratuitously  for  their  benefit.     At 
one  o'clock,  the  gardens  were  filled  with  dinner-parties ;  at 
there  was  a  general  gathering  at   the  "Ananas  moun- 
and  from  thence,  at  about  four,  the  grand  procession 
moved  to  strains  of  joyful  music,  to  the  Hall  of  trial,  in  the 
r  gardens.     The  meeting  to-day  was  attended  by  the 
Prince  Ilohenzollern,  who  was  formally  received,  and  welcom- 
ed to  the  Hall  by  the  Burgermeister  and  the  Committee  of  Ar- 
rangements amidst  animating  strains  of  military  music.     Al- 
ter the  Prince  had  taken  his  scat,  the  President  of  the  Society 
of  Artists  (painters)  made  the  announcement  that  the  said  So- 
ciety had  determined  to  add  to  the  splendor  of  the  festival  by 
awarding  a  prize  to  that  society  which  should,  extempore,  with- 
out preparation  and  without  notes,  perform  in  chorus  the  best 
song.     The  prize  should  consist  of  a  painting,  the  sub- 
.'  which  should  be  that  of  the  song  of  the  winning  society  ; 
and   the  awarding  of  it  should  be  by  a  committee  of  persons, 
not  musicians,  but  of  such  as  should  judge  by  the  immediate 
made  at  the  time  of  hearing.      Any  of  ti. 
siring  to  do  so.  might  join  in  the  competition.     This 
announeen:  d  with  much  appL 

The   competition 
which  came  from  toi  aining  between  three  and  ten  thou- 


182  DUSSELDORF    FESTIVAL. 

sand  inhabitants,  and  which,  therefore,  belonged  to  the  second 
class.  There  were  five  of  these  societies,  each  of  which  sang 
two  songs.  The  performances  were  generally  better  than  those 
of  the  third  class  (which  sang  on  the  first  day),  and  more  equal ; 
but  yet  it  was  not  difficult  to  decide  which  society  in  this  sec- 
ond class  would  take  the  first  prize.  After  a  recess  of  about 
forty  minutes,  during  winch  time  there  was  a  general  retreat  to 
the  garden,  to  engage  in  the  performances  there,  the  societies 
from  towns  of  ten  thousand  inhabitants  or  more,  of  which  there 
were  four  in  number,  constituting  the  first  class,  resumed  and 
completed  the  prize-contest-singing.  Three  of  these  societies 
(of  the  first  class)  sang  exceedingly  well ;  but  the  ';  Concordia" 
from  Bonn  was  decidedly  superior  to  all  the  others,  and  the 
loud,  long  applause  that  followed  their  performance  seemed  to 
be  a  decision  by  the  audience  in  anticipation  of  that  of  the 
judges,  awarding  to  them  the  first  prize. 

At  the  conclusion  of  the  singing,  Herr  Burgermeister  Ham- 
mers came  forward  to  the  front  of  the  stage,  and  being  sur- 
rounded by  the  banner-bearers,  each  bearing  the  banner  of  his 
respective  society,  announced  to  the  audience,  in  clear  and  dis- 
tinct tones,  amidst  the  loud  cheerings  of  the  assembly,  the  flour- 
ish of  trumpets,  and  the  waving  of  banners,  the  names  of  the 
composers  to  whom  premiums  had  been  awarded  by  the  com- 
mittee on  composition.  The  prizes  were  three  in  number  ;  for 
the  best  competition  the  premium  was  Fifty  Dollars,  for  the 
second  best  Forty  Dollars,  and  for  the  third  Twenty-five  Dol- 
lars. The  songs  received  from  different  parts  of  Germany 
were  one  hundred  and  ninety-eight  in  number.  These  had  all 
been  carefully  examined,  and  the  Committee  unanimously 
awarded  the  premiums  as  follows  : — the  first  to  the  song,  "  Im. 
Weinhaus"  by  Herr  Bonicke,  Organist  in  Quedlinbourg ;  the 
second  to  the  song,  " Lebe  Wohl"  by  Dr.  Immannel  Faist,  Di- 


DU8SELDORF    FESTIVAL.  183 

rector  of  the  u  Society  of  classical  music."'  Auttgart ;  and  the 
third  to  tl.  I  die  Blume."  by  W.  II.  Veit 

of  Prague.  These  announcements  were  successively  received 
with  the  loud  applause  of  trumpets,  drums,  and  voices  ;  while 
bam.  1  and  beauty  smiled  at  art's  success. 

After  a  few  mini.  s,  the  competition  in  comic  song 

followed.     Eight  societies  had  entered  their  names  as  candi- 

.  and  sang  successively  for  the  prize  picture.     Some  of 

them  produced  roars  of  laughter,  and  every  one  of  them  was 

ed  with  more  or  less  merriment  and  glee.  One  song 
(they  were  all  part-songs)  was  truly  good  and  exceedingly  well 
done,  but  the  others  were  commonplace,  or  even  low  and  frivo- 
lous ;  so  much  so,  as  to  appear  quite  at  variance  with  the  idea 
that  these  festivals  are  designed  for  improvement  in  musical 
taste.  It  was  somewhat  sad  too,  to  observe  that  those  songs 
which  seemed  to  bring  down  humanity  the  nearest  to  mere  ani- 
mal being  were  the  most  admired,  so  that  one  in  which  imita- 
tions of  the  bleating  of  sheep  and  the  cries  of -the  domestic  ani- 
mals were  introduced,  called  forth  the  loudest  laugh  and  the 
most  violent  clapping  of  hands.  The  Committee  retired  for  a 
few  moments,  and  justly  awarded  the  prize  to  the  M  Maenner- 
Gesang-Verein"  of  Neuss.  The  evening's  festivities  were  con- 
cluded (professedly)  by  a  display  of  fire-works  on  the  "  Ananas 
mountain ;''  but  the  songs  and  hurrahs  continued  to  be  heard 
through  the  night,  and  rising  early  the  next  morning,  between 
four  and  five  o'clock,  we  saw  from  our  window  a  part  of  the 
jinalc  of  the  second  day. 

Third  day.  Tuesday.  The  breakfast  with  ••  Harmonic  "  wan 
as  on  the  day  previous.  At  nine  o'clock  there  was  a  rehearsal 
for  a  grand  concert  which  was  t<>  be  given  in  the  evening.     To 

hearsal  tickets  were  sold  at  a  small  price,  and  the  amount 
thus  eollected  was  to  be  given  t<»  the  pour.     The  boust 


184  DUSSELDORF    FESTIVAL. 

filled,  and  quite  a  considerable  sum  must  have  been  received. 
The  rehearsal  having  closed,  the  dinner  hour,  and  the  hours  de- 
voted to  smoking,  drinking,  and  the  like — in  the  garden — having 
passed  away,  the  company  began  to  flock  in  at  about  four 
o'clock  to  attend  the  concert.  At  a  little  before  five,  when  the 
building  was  well  filled,  one  of  the  most  severe  showers  of  rain 
and  hail  arose  that  we  ever  witnessed.  The  rain  poured  down 
in  torrents,  the  rattling  hail  beat  upon  the  apparently  frail  build- 
ing, in  which  thousands  were  assembled,  the  lightning  flashed 
and  blazed  in  one  almost  continuous  stream  of  fire,  and  the 
deep  thunder  roared,  loud  and  terrific.  To  add,  if  imssible,  to 
the  sublime  chorus  of  nature,  at  the  moment  when  the  storm 
was  raging  most  violently,  the  powerful  voices  of  two  thousand 
men  were  heard  in  the  loud  "  Hurrah  !"  "  Hurrah  !"  "  Hur- 
rah !"  The  rain  began  to  find  its  way  through  the  roof,  um- 
brellas were  spread,  cloaks  and  shawls  were  wrapped  around 
the  elegantly-dressed  but  trembling  ladies,  the  chill  cold  quickly 
succeeded  heat,  while  the  rattling  of  glass  broken  by  hail-stones, 
seemed  to  indicate  the  grash  of  the  whole  building  in  one  com- 
mon ruin.  But  all  was  safe ;  and  quickly  the  rain  ceased,  the 
winds  were  hushed,  and  amidst  the  retiring  roll  of  the  more 
distant  thunder,  violins,  clarionets,  and  the  various  orchestral 
instruments,  were  heard,  seeming,  like  the  rainbow  of  promise, 
to  proclaim  that  Music's  welcome  sun  should  soon  shine  brightly 
upon  the  waiting  multitude. 

A  little  before  six  o'clock  the  concert,  having  been  delayed 
nearly  an  hour,  began.  There  was  an  orchestra  of  about  fifty 
instruments,  and  the  programme  was  as  follows : 

FIRST  PART. 

1 — Overture  (C  dur.  Op.  124) Beethoven. 

2 — Recitation.     Poetry   in   honor  of  the    King   of  Prussia. 

Read  by Ilerr  Uerchenbach. 


DUSSELDORF   FESTIVAL.  185 

;;— Psalm  fur  Mannerchor  mit  Solo C.  Schanabcl. 

m;  and  Ami:    from    "Faust"     Sung   by  FrL    Sophie 

Spokr. 

5 — Concerto  (E  flat  major)  for  Piano  Porte  with  Orchestra 

Performed  by  Madame  Clara  Schumann Beethoven. 

c — "Mekrkstuxk,"  "Mannerchor  ?  with  Orchestra    Com] 

l.v Capellnu  1st'  r  FUeher. 

SECOND  PART. 

7 — Otorturi  to  Shakspeare's  "Julius  CaBsar." R.  Schumann, 

B — Ami:  from  •'  Fidelio."     Sung  by  FrL  Mathilde  Hartmann. .  .Beethoven. 
'.» — Variations  on  a  theme  from  "  Preciosa,"  with  orchestra 
accompaniment.     Performed  by  Mad'le  Wieck  and 

Mad.  Clara  Schumann Wt  her. 

K» — M  BaooHUSCHOR  "    for    Mannerchor,  with   orchestra,   from 

'•  Antigone,"  by Mendelssohn. 

11 — "  Saltarkllo," \ 8.  Heller. 

••  NoTTuaira," >■  .  .  For  the '..F.  Chopin. 

"Likd  Ohm;  Wouti:."  )  Piano  Forte Mendelssohn, 

Performed  by  Mad.  Clara  Schumann. 
12 — Finals.    Full  Chorus,  Mannerchor,  with  orchestra.  By.  .Juliua  Ru  iz. 

The  performance  was  a  very  fine  one,  but  the  building  was 
too  large,  and  the  people  seemed  to  be  too  much  fatigued  to 
enjoy  it  fully.  At  the  close  of  the  concert,  the  most  exciting 
Boene  perhaps  of  the  whole  four  days  was  witnessed,  namely, 
the  announcement  of  the  successful  competitors  in  song,  and 
the  presentation  of  the  prizes. 

A  hal£cirole  was  formed  around  the  prize  committee,  who 
had  taken  Beats  around  the  Btagejusl  in  the  roar  of  the  table  on 
which  were  placed  the  shining  vessels  of  gold  and  silver. 
Amidst  the  loudest  shouts  the  Burgermeister  Hammers  as- 
cended the  tribune  to  announce  the  decision  of  the  judges.  The 
following  is  the  result : 


186  DUSSELDOEF    FESTIVAL. 

FIRST  DAY'S  SINGING— THIRD  CLASS— ELEVEN  SOCIETIES. 
First  prize  to  the  "  Gesangverein  "  of  Lobberich. 

Second  prize  to  the  "  Mannergesangverein,"  "  Apollo,"  of  Kaiersworth. 
Third  prize  to  the  "  Leidertafel"  of  Dulken. 

At  the  recommendation  of  the  Committee  three  "  hurras " 
were  given  for  the  ';  Liederkranz  "  of  B.  Gladbach. 

SECOND  DAY'S  SINGING— SECOND  CLASS— FIVE  SOCIETIES. 
First  prize  to  the  "  Mannergesangverein  "  of  Neuss. 
Second  prize  to  the  "  Liedertafel "  of  M.  Gladbach. 
And  three  "  Hurras  "  for  "  Liedertafel "  of  Ersen. 

FIRST  CLASS— FOUR  SOCIETIES. 

First  prize,  being  the  prize  of  honor  presented  by  the  town  of  Dussel- 
dorf,  to  the  "  Mannergesangverein  "  "  Concordia  "  of  Bonn. 

Second  prize,  to  the  "Mannergesangverein"  "Polyhymuia"  of  Cologne. 
And  three  "  hurras  "  for  the  '•  Gesangverein,"  "  Orpheus,"  of  Elberfeld. 

• 
Each  of  these  announcements  was  received  with  the  waving 

of  banners,  the  blast  of  trumpets,  the  rolling  of  drums,  and  the 
loud  cheering  of  the  multitude,  which  continued  while  the  Mayor 
took  from  the  table  the  prize,  as  it  was  announced,  and  handed 
it  to  the  President  of  the  Society  to  which  it  had  been  awarded. 
As  soon  as  the  cheering  would  permit,  the  President  of  the 
Bonn  "  Concordia "  jumped  upon  the  tribune  and  called  for 
three  times  "  Hurrah,  and  long  life  and  prosperity  to  the  friends 
in  Dusseldorf,"  to  which  a  most  enthusiastic  response  was  given. 
These  ceremonies  were  all  over  by  about  ten  o'clock  ;  then  fol- 
lowed a  grand  festival  ball,  and  this  closed  the  third  day's  per- 
formances, somewhat  before  the  rising  sun  of  Wednesday  marked 
the  commencement  of  the  fourth  and  last  day  of  the  meeting. 

The  fore-part  of  the  day  (Wednesday)  was  spent  in  various 
congratulations,  social  gatherings,  &c,  which  cannot  easily  be 
described.     All  was  excitement,  all  was  joy ;  and  music,  instru- 


DUSSELDORF  FESTIVAL.  187 

mental  and  vocal,  and  shoutings  and  "hurras"  wen-  heard  all 
around.  Some  of  the  societies  marched  through  the  streets, 
preceded  by  their  banner,  and  perhaps  by  the  prize  they  had 
won,  to  the  music  of  their  own  well-tuned  and  harmonious  voices. 
Others  rode  inside  and  outside  of  omnibuses,  with  like  demon- 
strations of  gladness.  The  gardens  were  fdled  in  the  afternoon, 
and  wine  flowed  freely.  At  five  o'clock  was  a  grand  festival 
of  artists,  entitled  the  "  Power  of  Song."  It  consisted  in  a  suc- 
cession of  very  splendid  li  tableaux  vivanis" — accompanied  by 
appropriate  music  and  recitation.  A  full  orchestra,  and  a  large 
mixed  choir  of  perhaps  one  hundred  and  twenty  voices,  with 
solo-singers,  constituted  the  musical  department  for  the  occasion. 
The  best  speakers  were  employed  for  the  declamation  ;  and  the 
living  pictures  were  under  the  immediate  direction  of  a  com- 
mittee of  the  painters  of  Dusseldorf.  The  hour  arrived,  but 
vain  was  the  attempt  to  commence.  Bacchus  had  been  there, 
and  had  obtained  such  a  sway  over  the  sons  of  Apollo,  that 
music's  voice  could  not  be  heard.  The  orchestra  did  indeed 
play,  or  appeared  to  play  an  overture,  but  not  even  the  loudest 
_res  could  be  heard,  for  the  vocal  shoutings  quite  over- 
powered trumpets,  trombones,  and  drums.  The  speakers,  in 
appropriate  costume,  came  on  the  stage,  but  their  voices  were 
lost  in  loud  shoutings,  and  they  quickly  gave  up  the  contest  and 
retreated.  Various  attempts  were  made  for  nearly  an  hour  to 
command  silence,  and  obtain  a  hearing,  but  in  vain.  The  roar 
of  voices,  and  the  loud  ••  Hurrah.'*  overpowered  all  the  efforts 
of  the  Mayor,  the  artists,  and  -the  orchestra.  Even  the  pres- 
ence of  the  Prince,  the  patron  of  the  Festival,  could  not  restrain 
the  tremendous  eheerings.  At  length  a  lady,  a  beautifully- 
1  /■"/'/.  appeared  on  the  stage — and  a^  the  orchestra  com- 
menced, her  arm  was  gently  extended,  and  the  song  began. 
Though  faintly  heard  at  first,  she  gradually  prevailed,  until,  at 


188  DUSSELDOEF    FESTIVAL. 

last,  music  gained  the  victory  ;  the  power  of  the  god  of  wine 
was  exhausted ;  reason  resumed  her  sway,  and  she  hesitated 
not  quickly  to  restore  music  and  the  arts  to  the  throne  of  uni- 
versal dominion  and  admiration. 

The  "Tableaux  Vivants"  were  now  exhibited.  Each  tab- 
leaux was  exhibited  three  times  ;  they  were  all  magnificently 
prepared,  and  the  whole  exhibition  was  exceedingly  interesting 
and  beautiful.     The  order  was  as  follows : 

1 — "  Orpheus  liberates  Eurydice  from  the  under  world"  After  P.  Corne- 
lius. Accompanied  by  extracts  from  the  text  and  the  music  of  Gluck's 
opera. 

2 — "  The  Singers  Curse"  After  M.  Tolz.  Accompanied  by  music  from 
Robert  Schumauu's  third  Symphonic 

3 — "  A  Landscaped  A  group  of  young  men  accompany  a  comrade  on  his 
way  out  of  town,  and  they  all  sing  "  Must  I  leave  thee,  Native  Town." 
His  beloved  -watches  from  a  bower,  and  after  all  have  disappeared  sings 
a  sad  song  of  parting. 

4 — "  Ave  Maria"  After  Rubens.  Accompanied  by  a  " Salve  Regina" 
composed  by  M.  Hauptmann. 

5—"  Grand  Battle  Piece."  "  Frederick  the  Great  at  the  Battle  of  Prague." 
A  most  splendid  tableaux  with  many  figures.  Accompanied  by  a  mili- 
tary movement  by  the  orchestra, 

6 — "  Landscape.  Review?  The  muses  appear  on  an  eminence ;  on  one 
side  in  the  foreground  is  a  group  of  Orpheus  ;  next,  the  young  and  old 
singers  from  the  second  picture  ;  then,  the  young  man,  and  his  beloved 
from  the  third,  the  monks  from  the  fourth,  and  Frederick  from  the  fifth. 
The  muses,  Thalia,  Euterpe,  and  Erato,  advance  to  the  front  of  the 
stage,  bearing  crowns  of  evergreen  in  their  hands.  Euterpe  sings  a 
verse  of  greeting  to  the  assembled  singers,  and  the  curtain  falls. 

The  fourth  and  last  day's  exercises  closed  by  a  grand  festive 
ball,  of  singers,  visitors,  and  citizens. 


DUSSELDORF  FESTIVAL.  189 

HUMES    <>K    THE    SOCIETIES,    IM    THE    ORDER    IV    WHICH    THEY    SANG,   AND  ALSO    A 
LIST    OF    ALL    THE    SONOS    THAT    AVERE    SUNG. 

THIRD  CLASS— FIRST  DAY. 

1 — Mabnni  u<.i>an<;yi  hi  in.  Kaisorswerth. 

"  Was  wir  liobcn." C.  F.  A  dent. 

"  .Still  and  scliauei'lid)." . 

'2 — BIaxnnkrgi  bahgvkrein,  VolmerBwerth. 

"  Das  Kirclilein." V.  E.  11  eh  r. 

"  SangermaracL" K  ALt. 

3 — Mai:n.vi:u(;i:>a\<;vi:rei.\,  Lobberiek. 

-  Mein." Hartt  I 

'•  Wer  1st  unser  Mann." C.  Zollncr. 

4 — Maennebgk8ANGVK&ein,  Ratingen. 

M  Die  Riesengk-tsclier." Kreutzer. 

'•  Was  ist  das  Beste." 

5 — Maennf.ucesanoverein,  Wupperbofeii. 

"  Frohlockt  and  jauchet." Roeder. 

"  Patriotisches  SoldatenleidV Kilt-ken. 

6 — A  pollo,  Kaiserswerth. 

"  Am  Neckar,  am  Rheiu." Kiieken. 

M  Scblummcrst  du  sclum." Wilhelm, 

7 — Liedkrkranz,  B —  Gladbacb. 

"  Woner  nur  das  linde  Sauseln." Kreutzer. 

"  Rund  ist  alles  auf  dor  Welt." Kucken. 

8 — LlEDERTAFSL,  (JraciYatb. 

'■  Mrin." lldrtel. 

"  Der  Jager." Kucken. 

'.) — Ln  nioKTAii.i.,  Sonnbora 

••  Am  Neckar,  am  Rhein." Kuckm. 

"  Leib  end  Wein.M M<  nd  hsohn. 

10 — IlAa.MoMr,  DfiltgensthaL 

"  Aus  der  Jugendzeit" Stdppk  r 

Qwetter." H<  xwiger. 

11 — Ln  derta]  i  i .,  I  lulken. 

"  Die  jungen  Musikanten." Kucken. 

"  Die  Guust  des  Augenblickef." 


190  DUSSELDORF    FESTIVAL. 

SECOND  CLASS— SECOND  DAY. 

1 LlEDERTAFEL,  Essen. 

"Jvmglings  Abscbied." 

"  Der  Mullerbursche." Z'dllner. 

2 — Liedertafel,  Yiersen. 

"  Den  Schonen." Neithardt. 

'•  Am  Neckar,  am  Rhein." Kucken. 

3 — Liedertafel,  M —  Gladbach. 

"  Gebet  von  See." Zollner. 

*  Nachtlicbe." F.  Alt. 

4 — Concordia,  Dortmund. 

Cbor  und  quartet  aus  der  "  Weissen  Dame." Boieldieu. 

"  Die  Jungen  Musikanten." Kucken. 

5 — Maennergesaxgyerein,  Neuss. 

u  Fruhlingslandschaft." Otto. 

"  Das  Lied  vom  Rhein." Reichardt. 

FIRST  CLASS— SECOND  DAY. 
1 — Concordia,  Bonn.  t 

'•  Trallerliedchen." F  Ries. 

"  Abschiedstafel." Mendelssohn. 

2 — Orpheus,  Elberfeld. 

"  Mein." Hartel. 

"  Am  Neckar,  am  Rhein." Kucken. 

3 — Buerger-end  Handwerker-Gesangverein,  Cologne. 

*  Friscb  ein  Hoch." „ Herx. 

"  Gegriisst  seid  All  Ibr  Sanger-Briider." Herx. 

4 — Polyhymnia,  Cologne. 

< '  Der  Wald." Hdser. 

"  Was  uns  eint  als  deutsche  Briider." Mendelssohn. 

There  were  deputations  of  from  one  to  upwards  of  fifty  per- 
sons each,  from  twenty-nine  other  towns ;  hence,  the  deputed 
members  numbered  nearly  as  many  persons  as  belonged  to  the 
Societies  that  entered  into  competition  for  the  prizes. 


DUSSELDORF    FESTIVAL.  191 

EXHIBITIONS    QEATUROUSLT  OFKZISD    TO    THE    SINGERS    DUE  IN  G  THE  FOUR    DAY3. 

1 — The  Provincial  Industrial  Exhibition. 

I— The  Exhibition  of  the  Society  of  Art  of  Rheinland  aud  Weetphalen. 

8 — The  Exhibition  of  the  Artist>'  Mutual  Aid  Society. 

4 — The  Permanent  Art  Exhibition  of  Dnsseldorf. 

5 — The  Exhibition  of  three  large  paintings,  by  Herr  Shadow,  Director  of 

the  Academy  of  Fine  Arts,  Duaseldorf,  viz.:  Heaven,  Puegatoev,  and 

IIkll. 

During  the  performance  on  the  first  day,  many  of  the  mem- 
bers of  the  societies  wore  their  hats  on  the  stage,  directly  in 
front  of  the  audience,  and  some  were  seen  standing  gazing  about 
not  only  with  hats  on,  but  with  cigars  in  their  mouths  and  ac- 
tually smoking.  This  positively  took  place  (we  repeat  it,  for 
it  will  hardly  be  credited)  during  the  public  performance  at  the 
Dusseldorf  festival.  The  second  day  a  notice  was  posted  up  to 
the  following  effect :  "  Smoking  will  not  be  allowed  in  the  hall 
during  the  public  performances."  An  advance  in  civilization, 
surely  !  Hats  were  worn  on  succeeding  days,  but  the  smoking 
disappeared. 

TRICES    OF    REFRESHMENTS. 

One  plate  of  9oup 6  cents. 

One  beef-steak,  or  other  portion  of  meat 12  cents. 

One  buttered-bread,  with  cheese,  or  meat 12a  cents. 

One  cup  of  coffee 5  cents. 

One  ice-cream 10  cents. 

One  glass  lemonade,  or  grog,  with  ice 121  cents. 

Wine  (a  lea-ling  article)  varied  in  price  from  25  to  60  cents  per  bottle. 

The  price  of  beer  was  so  well  understood  as  not  to  require  placarding. 

There  were  other  articles  of  refreshments  offered,  but  the  prices  were 
not  published 

The  performance  of  the  Concordia  of  Bonn  Mas  decidedly 
the  best  of  the  whole ;  this  society  was  represented  by  ffty -two 
of  its  members;  many  of  them  aiv  students  in  the  University  ; 


192  DUSSELDORF    FESTIVAL.* 

and  the  appearance  of  the  society  seemed  to  indicate  a  general 
cultivation  to  which  all  could  not  lay  claim.  The  songs  chosen 
by  the  Concordia  were  both  very  excellent  and  popular,  a  cir- 
cumstance of  much  importance  to  their  success.  Very  near 
to  this,  in  point  of  merit,  was  the  Polyhymnia  of  Cologne.  It 
may  be  mentioned  here  that  there  is  a  society  in  Cologne  which 
is  very  celebrated  for  the  perfection  of  its  performances.  This 
society  has  taken  the  first  prize  for  several  years,  but  voluntari- 
ly gave  way  this  year,  or  retired  from  the  contest,  so  that  oth- 
ers might  have  the  opportunity  of  winning.  One  of  the  poor- 
est societies,  and  yet  one  of  the  largest,  was  also  from  Cologne, 
the  Burger -mid  HandwerTcer  gesangverein*  What  rendered  their 
performance  the  less  pleasing,  though  in  itself  poor,  was  the 
fact,  that  two  inferior  compositions,  both  by  the  director  of  the 
society  ( W.  Herx),  were  sung. 

The  performance  of  many  of  the  societies  was  much  injured 
by  those  who  attempted  to  sing  solo  parts,  but  who  were  not 
competent  to  do  the  work.  Out  of  tune,  and  sinking  the  pitch, 
were  faults  common  to  quite  a  number  of  the  solo  singers. 
The  chorus  was,  in  the  poorest  instances,  tolerable ;  but  it  was 
not  so  with  the  solo  singers,  who  were  not,  in  all  cases,  better 
than  we  have  heard  heretofore,  under  circumstances  where  little 
was  expected,  and  nothing  realized.  It  is  comparatively  easy 
to  have  a  chorus  well  done,  but  there  are  very  few  singers  who 
have  carried  vocal  cultivation  so  far  as  to  be  able  to  sing  a  solo 
part,  or  a  part  in  a  trio  or  quartet,  well  enough  to  save  the 
hearer  from  absolute  pain. 

A  M  sperrsitz"  (reserved  seat)  to  all  the  four  days'  perform- 
ances, cost  three  dollars  and  a  half;  other  tickets  cost  much 
less.     Tickets  for  a  single  performance  were  also  sold. 

The  whole  amount  received  for  tickets  could  not  have  been 
less  than  several  thousand  dollars. 


DUSSELDORF  FESTIVAL.  193 

From  what  we  Baw  of  comic  ringing,  it  seemed  to  be  very 
lent  that  the  Germans,  or,  at  least,  those  assembled  on  this 
occasion,  with  all  their  musical  culture,  are  more  pleased  with 
a  really  silly  or  foolish  song,  which  includes  a  little  monkev- 
like  acting  or  gesticulation,  than  with  a  -  Lied  ohne  Worte"  by 
Mendelssohn,  or  a  miartet  or  a  symphonie  by  Beethoven.  Good 
music  is  undoubtedly  appreciated  by  a  greater  part,  compara- 
tively, of  the  people  here,  than  in  America;  but  if  one  may 
judge  from  appearances  at  this  festival,  the  majority  still  prefer 

•  >od  laugh  to  good  music,  and  mere  comic  acting  to  classic 
song.  We  spoke  to  a  German  gentleman  sitting  near,  and  ex- 
pressed our  disappointment  that  such  rapturous  applause  should 
be  given  to  music  so  unworthy.  «  All !''  said  he,  u  that  is  Ger- 
man way." 

It  should  be  understood,  especially  by  those  persons  who  la- 
bor to  promote  church-singing  with  us,  that  these  festivals  have 
nothing  whatever  to  do  with  this  subject.  Indeed,  the  idea  of 
music  seems  to  be  disunited,  in  many  minds,  from  any  thoughts 
of  public  worship.  The  singing  of  psalms  or  hymns  by  the 
>ple  on  a  religious  occasion,  is  not  regarded  as  music,  but  as 
votional  exercise,  as  far  removed  from  a  musical  perform- 
ance, at  least,  as  is  the  intonation  of  the  Cathedral  service  of 
the  English  Church. 

"  In  which  church  shall  we  hear  the  best  music  ?"  is  an  in- 
quiry we  have  made,  when  in  a  German  town,  on  the  Sabbath; 
and  to  which  we  have  received  the  reply: 

•  Oh,  there  is  no  music  in  any  of  the  churches,  except  per- 
haps once  or  twice  a  year,  on  the  occasion  of  some  great  1 
tival." 

'•But,  don't  the  peopL 

-  Fes,  they  sing  the  hymns,  but  there  is  no  mib 
Thus  the  distinction  is  practically  made  (as  it  ought  to  be) 

9 


194  DUSSELDOKF    FESTIVAL. 

between  the  people's  psalm-singing  or  worship  and  musical  per- 
formance. The  festivals  here  are  musical  performances,  and 
have  nothing  to  do  with  the  people's  songs  of  worship. 

At  one  of  the  churches  we  attended  on  the  Sunday  morning 
of  the  commencement  of  the  festival,  we  received  a  tract,  con- 
taining the  protest  of  the  minister  of  the  parish.  It  is  princi- 
pally based  upon  the  fact  that  the  festival  had  its  commence- 
ment upon  the  Sabbath.  The  following  is  a  translation  of  a 
part  of  it : 

"  The  opening  of  a  large  worldly  festival  on  the  Lord's  day,  like  that 
in  contemplation  in  our  town,  must  awaken  a  deep  sadness  in  the  heart 
of  every  Christian  man.  For  such  a  thing  stands  in  direct  opposition 
to  the  positive  command  of  God.  '  Remember  the  Sabbath  day  to  keep 
it  holy,'  is  understood  by  the  Christian  Church  in  a  sense  that,  the  Lord's 
day  is  separate  from  other  days,  and  that  it  should  be  honored  and  rev- 
ered by  public  and  private  service  to  God,  and  also  by  resting  from 
all  labors  and  worldly  pleasures.  ]So  one  can  contend  that  the  open- 
ing of  a  festival,  which  is  to  be  continued  several  days,  must  of  neces- 
sity take  place  on  Sunday.  It  could  just  as  well  have  commenced  on 
a  week-day.  A  '  competition  of  song'  is  just  as  little  to  be  reckoned 
among  the  works  of  love  and  mercy,  as  any  other  worldly  festival  The 
evident  and  doubtless  fact  that  the  whole  town  will  participate  in  these 
worldly  pleasures,  in  open  disobedience  to  the  command  of  the  Heav- 
enly Father,  must  make  sad  the  heart  of  every  godly  man. 

"  Far  from  giving  approbation  to  a  joy  which  thus  manifests  itself  in 
illuminations,  wreaths,  garlands,  or  flags,  on  this  holy  day,  we  have 
felt  it  to  be  our  duty  to  protest,  even  though  our  voice  have  little  or 
no  effect,  against  this  shameful  and  sinful  breaking  of  the  sacred  Sab- 
bath." 

Various  other  things  more  or  less  connected  with  the  festival 
might  be  said,  but  we  fear  we  may  have  already  too  much  ex- 
tended our  report,  and  therefore  forbear. 


BIRMINGHAM.  195 

LETTER   XLII. 

;.m  Feattrml— Fowen  of  the  Masks]  World— The  Market  Place— Service  at 
Her.  .Vr.  Junes1  Church   Oermon—Cbolr—OrgBa— Tones— Church  of  St  Martin's— 

.11.'— Ilread  fur  the  ftw— Westey   Chapel— Rehearsal— Money 
Mutters. 

Birmingham.  September  -\i.  IE 

Although  we  had  decided,  even  before  we  left  home,  to  at- 
tend the  musical  meetings  in  this  place,  yet,  as  the  time  drew 
near,  we  Ibund  ourselves  so  pleasantly  employed  in  two  simul- 
taneous courses  of  lectures  to  music  and  school  teachers,*  that 
we  had  well  nigh  come  to  the  conclusion  to  remain  in  London, 
relinquish  the  long  anticipated  performances  at  the  Grand  Bir- 
mingham Festival,  and  work  on.     But,  a  number  of  the  Musical 
World  came  to  hand,  and  it  was  no  longer  optional  with  us  to 
come  or  stay  away ;  for,  the  editor  (without  our  permission) 
had  pledged  us  to  his  readers  for  a  report.     We  say  without 
jjennission,  but  yet  we  are  certainly  ready  to  acknowledge  that 
lie  had  a  kind  of  professional,  social,  or  moral  right  to  do  as  he 
1  with  us,  in  this  matter,  arising  out  of  a  relationship  that 
has  long  existed, — which  commenced,  indeed,  when  he,  a  lad 
wearing  a  jacket  and  a  cap.  was  brought  to  us,  with  a  beloved 
sister — now  no  more — by  an  affectionate  parent,  to  commence 
his  musical  education  in  lessons  of  Do,  Re,  Mi.     Little  did  we 
think  at  that  time,  that  in  about  a  score  of  years  he  was  to  oc- 
cupy the  editorial  chair  of  an  American  Musical  paper!     No 
mandate  is  so  quickly  or  so  cheerfully  obeyed,  as  that  which 
proceeds  from  love  and  good  will  ;  the  way  was  now  plain ; — 
3  must  be  adjourned,  lectures  and  <»rher  engagements  post- 
poned, and  to  Birmingham  we  must  go. 

It  was  Saturday  night.     The  ride  on  the  hard  boards  of  the 
*  One  in  connection  with  the   Home  and  Colonial  Xorrnal  School,  and 
the  other  to  Teachers  of  the  Birkbeck  Schools. 


196  THE   PEOPLE. 

second  class,  had  been  tedious,  for  we  had  been  detained  nearly 
an  hour  by  the  circumstance  of  a  luggage  train  ahead  of  us 
running  off  the  line.  As  soon  as  we  could  get  a  little  refresh- 
ment, we  went  out  into  the  crowded  streets.  On  Saturday  (as 
we  understand)  the  manual  laborers,  or  operatives,  are  released 
from  their  weary  toil  at  an  earlier  hour  than  usual,  and  they 
then  crowd  the  streets  in  search  of  fresh  air,  and  to  see  or  hear, 
or  buy  such  things  as  they  need  for  the  coming  day.  The 
streets,  and  especially  those  in  the  vicinity  of  the  market,  were 
literally  jammed  full  of  people  of  all  ages,  from  the  child  at 
the  breast,  to  worn-out,  feeble  and  tottering  old  age.  It  was 
difficult  for  one  to  press  along,  through  the  dense  mass  of  human 
beings  who  thronged  the  ways.  How  different  the  appearance, 
from  that  of  the  multitude  at  Dusseldorf,  where  we  were  a  few 
weeks  since,  on  a  similar  errand  to  that  which  brought  us  here. 
The  circumstances,  indeed,  were  very  different ;  there,  was  the 
commencement  of  a  gay  holiday-time  for  the  people,  and  men, 
and  women,  and  children,  with  clean  faces,  combed  hair,  shining 
shoes  and  "  go-to-meeting  "  clothes,  were  thick  on  every  side. 
They  were  more  like  the  people  of  our  own  happy  land  ;  there 
being  scarcely  any  evidence  of  deep  poverty  and  degradation. 
It  was  otherwise  here,  for  little  children  and  old  men  and 
women  were  seen  clothed  in  filthy  rags,  and  it  was  enough  to 
put  to  the  test  the  olfactory  nerves  of  the  stoutest  man  to  crowd 
his  way  through  the  motley  groups.  The  people,  too,  in  Dus- 
seldorf, were  interested  in  the  festival, — indeed  it  was  the  peo- 
pled festival,  and  if  there  were  some  who  could  not  hear,  all 
took  delight  in  seeing.  But  here,  the  common  people  are  en- 
tirely cut  off  from  the  music ;  it  is  intended  only  for  the  rich, 
and  only  they  can  go  to  the  expense  of  purchasing  admittance. 
There,  the  people  make  their  own  music ;  here,  the  greatest 
performers,  vocal    and   instrumental,  the  world   affords,    are 


MARKKT-PLACE.  197 

brought  together,  at  an  enormous  expense,  to  give  an  exhibition 
of  the  triumph  of  art. 

We  followed  the  multitude  into  the  market-place,  audit  was 
an  alleviation  to  the  circumstance  of  their  apparent  poverty,  to 
see  for  how  little  money  they  oould  buy  bacon,  shoes,  cheese, 
baits,  potatoes,  tfowsers,  sausages,  cabbages,  flutes,  candles  and 
other  like  tilings  necessary  and  convenient.  Very  cheap  are 
such  commodities  on  a  Saturday  night  in  and  about  the  market 
houses  of  the  large  manufacturing  towns  in  England.  There 
was  a  great  plenty,  too,  of  good  fruit, — as  pears,  plums,  and  ap- 
ples. A  pint  of  ripe  sweet  plums  could  be  had  for  one  or  two 
pence.  Many  of  them  were  eaten  upon  the  spot,  and  every 
now  and  then,  one  and  another  treading  on  the  slippery  skins, 
would  slide  and  fall,  not  upon  the  floor,  for  there  was  not  room 
enough  for  that,  but  against  others  by  whom  he  was  surrounded. 
The  only  music  we  heard  here  was  the  busy  hum  of  voices,  the 
cries  of  the  sellers,  "  this  is  the  cheapest  stall  in  the  market," 
"a  pint  for  a  penny,"  the  whistling  of  boys,  the  crying  of  chil- 
dren, and  now  and  then  the  distressed  bowlings  of  a  poor  suf 
tiring  member  of  the  canine  society,  who  had  been  cruelly 
trodden  under  foot  by  some  heedless  passenger.  We  stopped 
at  a  Bible-stall  and  bought  a  very  excellent  copy  of  the  New 
Testament,  well  bound,  for  four  pence.  Thanks  to  that  noble 
institution,  "  the  British  and  Foreign  Bible  Society,"  for  such 
a  provision  as  this,  in  the  market. 

We  left  the  market-place  and  the  crowd  at  half-past  nine,  and 
made  our  way  to  our  lodgings  ;  thinking  of  our  happy  country, 
and  the  better  condition  of  the  laboring  poor  there,  than  even  in 
the  best-regulated  manufacturing  towns  here. 

Sunday  came,  and  we  attended,  first,  the  church  of  Rev.  Mr. 
James.  How  oould  we  do  otherwise?'  What  American, 
spending  the  Sabbath  in  Birmingham,  would  fail  to  hear  this 


REV.   J.   A.   JAMES.  198 

distinguished  man,  since  there  is  no  better  preacher  anywhere 
to  be  found,  and  since  there  is  no  living  English  divine  so  well 
known,  by  his  writings,  across  the  Atlantic  1  We  well  remem- 
ber his  influence  in  the  early  history  of  Sabbath  schools  in  the 
United  States ;  for,  when  they  were  yet  in  their  infancy,  his 
"  Sunday  School  Teachers'  Guide  "  did  more  to  mould  them  and 
give  them  a  right  direction,  than  any  other  work  ;  and  during 
the  score  of  years  that  have  since  passed  away,  many  of  his 
books,  of  great  practical  worth,  have  been  republished  and 
widely  circulated.  Mr.  James  preached  from  the  text,  "  If  any 
man  will  come  after  me,  let  him  deny  himself,  and  take  up  his 
cross  and  follow  me."  I  wish  I  could  give  a  detailed  account 
of  his  sermon,  for  I  am  persuaded  it  would  be  a  report  as  inter- 
esting to  many  as  any  that  can  be  made  of  the  progress  of 
song,  and  it  would  do  musical  as  well  as  other  readers  good  to 
contemplate  the  subject  in  the  light  he  presented  it.  Suffice  it 
to  say,  he  represented  it  very  clearly  as  something  to  do  ;  he 
made  it  out  also  to  be  an  extensive  thing,  reaching  the  whole 
man,  entering  into  his  whole  life  ;  moreover,  he  gave  to  it  great 
power  sufficient  for  any  emergency,  and  leading,  if  necessary, 
even  to  martyrdom.  Any  self-denial  not  reaching  thus  far,  is 
not  that  which  the  text  calls  for.  But  I  must  not  enlarge.  Mr. 
James'  delivery  is  not  very  good,  and  he  often  allows  his 
voice  to  sink  so  low  in  power  as  not  to  be  heard  in  the  latter 
part  of  a  sentence.  He  is,  as  to  his  manner,  a  son  of  consola- 
tion, and  the  kind,  the  gentle  and  tender  prevail.  Indeed,  his 
whole  manner,  as  well  as  the  spirit  which  he  manifests,  seems 
to  say,  "  thy  gentleness  hath  made  me  great."  There  are  little 
things  about  his  delivery  that  should  not,  we  think,  be  imitated 
by  young  men ;  for  example,  the  frequent  abbreviations  of  can't, 
won't,  shan't,  &c. ;  'however  they  may  be  tolerated  in  conver- 


ORGAN    ACCOMPANYING.  199 

sation  or  familiar  address,  they  do  not  become  serious  discourse, 
and  pulj.it  dignity. 

But  we  must  not  forget  the  part  of  the  service  that  < 
more  immediately  within  our  province.  There  is  an  organ  in 
Mr.  James1  church,  and  also  a  choir;  two  things  indisp* 
to  the  best  results  in  church  music.  The  organ  was  well 
I.  yet  not  always  with  sufficient  strength  to  support  and 
guide  the  congregation.  It  is  a  great  fault  for  the  organist  in 
Congregational  singing,  to  play  so  soft-  for  the  sake  of  some 
fancied  musical  expression,  as  to  leave  the  people  unsustained, 
and  even  to  ground  in  shoal  water.  The  organ  should  ever 
maintain  a  fullness  and  depth  sufficient  to  keep  the  voice  from 
sinking,  or  to  bear  up  the  vocal  song.  In  choir  singing  (that  is 
when  the  congregation  do  not  join),  the  case  is  different ;  ex- 
ion  should  now  receive  attention,  and  the  organ  which  in 
its  mighty  power  held  up,  and  bore  onward,  the  chorus  of  the 
whole  people,  in  a  choir  j)erformance,  becomes  a  mere  accom- 
paniment, often  -  unheard,  unseen/'  We  have  known  a  congre- 
gation suddenly  checked  in  their  song,  and  thrown  all  into  pie 
— as  the  printers  say — by  some  sudden  freak  of  an  inexpe- 
rienced organist,  who,  because  he  saw  the  word  peace  ahead, 
supposed  he  must  instantly  pass  from  forte  to  piano.  This 
same  fault  was  observable  in  the  organ-playing  here.  There 
was  also  a  painful  pause  at  the  end  of  each  stanza,  in  which  all 
rhythmic  feeling  was  lost,  and  it  became  necessary  to  begin  anew 
with  the  divisions  of  time  at  the  beginning  of  every  stanza. 
Surely  then-  ean  be  no  reason  for  a  full  (apparently  final)  pause 
at  the  end  of  a  stanza,  any  more  than  at  the  end  of  a  line  ;  but 
if  it  be  desirable  for  the  voices  to  stop  for  a  moment,  then  let 
the  organ  fill  up  the  space  by  a  few  chords  of  transition  (where 
interludes  are  not  desired),  keep  up  the  rhythmic  form  or  struc- 
ture, and  thus  prevent   a  mental  collision,  or  an  apparent  final 


200  CHURCH   MUSIC. 

close  at  the  end  of  each  stanza.  An  organ  voluntary  at  the 
commencement  of  the  service  was  in  good  style,  appropriate 
and  religious  ;  and  we  think  it  was  in  equally  good  taste  that 
there  was  no  voluntary  at  the  close  of  worship.  The  principal 
effect  of  a  closing  voluntary  is  to  endanger  the  vocal  organs  of 
the  people,  who  are  often  obliged  to  speak  louder  to  their 
friends  and  neighbors,  in  order  to  be  heard,  than  is  consistent 
with  prudence  and  safety.  The  closing  voluntary  instead  of 
covering  or  shading  the  voices  of  the  retiring  congregation,  is 
not  unfrequently  a  mere  signal,  which,  when  reduced  to  lan- 
guage, says  "  Now  talk  as  loud  as  you  can.*' 

The  choir  in  Mr.  James'  church  did  not  seem  to  be  much  in 
advance  of  the  people  in  the  manner  of  their  performance ;  they 
tried  to  help  the  organ  to  lead,  but  no  choir  piece,  either  tune  or 
anthem,  was  attempted  by  them.  There  was  no  chanting,  as 
there  is  in  many  of  the  London  churches,  and  metrical  psalmo- 
dy was  the  only  form  of  song.  Extempore  parts  were  sung 
near  to  me,  and  especially  by  a  gentleman  who  knew  enough 
of  music  to  sing  always  a  third  below  the  treble ;  this  knowl- 
edge he  took  care  to  bring  into  practical  use,  and  so,  of  course, 
was  often  producing  fifths  as  much  at  variance  with  music's 
laws  as  are  nouns  in  the  plural  in  connection  with  verbs  in  the 
singular  number  with  the  requirements  of  grammar.  The  first 
tune  was  St.  Ann's,  with  the  good  old-fashioned  cadence  on  the 
mediant  at  the  end  of  the  third  line — grand  and  effective ; 
the  second  was  St.  Paul's ;  the  third  we  did  not  know,  but 
while  it  was  &  pretty,  "  alVs  well"  kind  of  tune,  it  was  unfit  for 
Congregational  singing,  and  an  affected,  fainting  away,  or  "  oh 
dear"  result  was  the  consequence.  As  in  other  places  in  Eng- 
land, so  here,  the  hymn  is  just  named,  the  organist  then  gives 
out  the  tune  on  his  instrument,  playing  it  through,  then  follows 
the  reading  of  the  hymn,  after  which  it  is  sung. 


.    MAIM  IN  201 

ock  we  attended  the  church  of  St.  Martin's 

.1).     The  <  mall,  ami  was  (as  we  sup- 

I  from  the  application  of  almost  every  one  who  came  in  to 

the  Beadleship  for  a  mposed  mostly  of  strangers.     The 

ee  was  dull  and  monotonous,  no  one  appearing  to  manifest 
any  other  interest  than  a  desire  to  get  through.     The  chanting, 

:!'>n.  and  was  of  a  character  somewhat 
new.  It  was  almost  exclusively  instrumental,  being  performed 
on  the  organ.  Of  course,  we  could  find  no  fault  with  the  articu- 
lation of  words,  or  the  rapidity  of  utterance,  since  the  pipes  ap- 
peared to  do  their  best.  But  voices  could  not  be  heard  in  this 
part  of  the  service  with  the  exception  of  "  Gloria  Patri."  in 
which  there  was  a  feeble  attempt  at  vocal  effect.  It  may  be 
well  for  correlations  who  do  not  wish  to  be  at  the  trouble  of 
opening  their  mouths  and  speaking  forth  God's  praises  in  the 
'•  Venite,"  "Jubilate  Deo,"  and  other  canticles,  to  confide  the 
matter  wholly  to  a  faithful  instrument ;  fur,  under  a  master's 
hand,  it  is  always  sure. 

We  were  pleased  with  one  thing  which  we  saw  in  this  church  : 
as  we  entered,  we  observed  near  the  door  a  stall  capable  of 
holding  twenty  or  thirty  loaves,  filled  with  nice-looking  bread. 
Over  it  was  painted  on  a  sign :  u  Mr.  John  Billing>ley*s  gift. 
IG'29.*'  I  ascertained,  on  inquiry,  that  the  good  man  had  left  a 
fund  by  which  a  weekly  supply  of  bread  for  the  poor  was  pro- 
vided. I  asked  if  there  was  applicants  enough  to  receive  the 
bread.  "Enough,  yes,  and  forty  times  as  many  more."' was 
the  answer.  "  The  works  of  the  righteous  shall  be  held  in 
everlasting  remembranc 

In  the  evening,  at  ha!;  o'clock,  we  attended  a 

ious   service    in  the  "Cherry  street  Chapel'1  (\\\>leyan).  where 
ton  was  ['reached  and  a  collection  taken  in  aid  of  Sunday 
Is.     The  singing  was   mostly  by  a  chorus  of  about  two 


202  CHILDREN'S  SINGING. 

hundred  children,  who  sang  in  two  parts,  girls  singing  first, 
boys  second.  They  sang  in  tolerably  good  time  and  tune,  but 
in  no  better  taste  than  we  have  heard  some  of  the  children's 
choruses  in  America.  There  was  a  kind  of  nasal,  or  feline 
quality  of  tone,  which  was  anything  but  pleasant.  One  would 
think  that  here,  as  in  America",  the  great  thing  sought  for  is  to 
get  as  many  children  together  as  possible,  make  them  exert 
their  tender  vocal  organs  to  the  utmost,  strive  for  a  loud  noise, 
and  perhaps  the  execution  of  something  that  seems  very  dim- 
cult,  while  all  that  relates  to  taste,  or  to  a  truthful  musical  edu- 
cation, is  neglected.  It  is  immensely  important  that  a  child 
should  be  taught  by  one  who  has,  at  least,  some  practical  phy- 
siological knowledge  of  the  voice,  and  who  has  also  a  cultivated 
taste ;  otherwise  the  poor  child  suffers  severely,  foAiing  habits 
which  probably  will  follow  him  to  his  sorrow  through  all  after 
life.  The  singing,  by  children,  of  music  unfit  for  them,  or  un- 
adapted  to  their  capacities,  is  a  very  common  fault ;  on  the  pre- 
sent occasion  a  glee  by  Callcott  was  attempted,  to  sacred  words, 
which  had  better  been  omitted ;  and  at  the  close  of  the  services, 
after  the  benediction,  the  poor  children,  not  knowing  what  they 
were  aboui,  but  led  on  by  those  who  ought  to  have  known  bet- 
ter, made  a  bold  attack  on  Handel's  Hallelujah.  It  hardly  need 
be  added  that  the  performance  came  as  near  to  the  ridiculous 
as  need  be ;  there  was  nothing  good  about  it  except  the  inten- 
tions of  the  children ;  they  were  innocent  through  ignorance  ; 
but  not  so  with  the  teachers,  for  ignorance  cannot,  in  a  teacher, 
excuse  such  error  in  judgment  and  carelessness  in  execution. 

It  is  no  unimportant  lesson  for  a  teacher  or  conductor  of 
music  to  learn  what  music  is  appropriate  to  the  occasion,  what 
comes  fairly  within  the  capacities  of  the  performers  and  the  under- 
standing of  the  hearers,  what  is  suitable  for  children, — what  for 
congregations, — what  for  choirs  without  orchestra,  and  for  choirs 


TICKET  SELLING.  203 

with  orchestra,  dr.  And  how  shall  one  learn  these  things  and 
a  thousand  others  ?  Answer.  By  the  study  of  music  under  the 
tion  of  those  who  are  competent  to  teach.  How  long  will 
it  take  and  what  will  it  cost  ?  Answer.  Go  to  the  members 
of  other  professions  and  ask  them  these  questions,  in  relation  to 
their  own  preparatory  studies,  multiply  their  answer  by  two, 
and  the  product  will  not  deceive  you. 

Monday  came.  It  was  a  great  day  of  preparation.  The 
streets  were  full  of  carriages,  and  strangers  were  constantly  ar- 
riving. We  went  early  to  procure  our  tickets,  but  found  a 
crowd  already  in  the  office.  The  office  is  a  wooden  building, 
erected  on  a  vacant  lot,  for  the  express  purpose  of  ticket-selling 
during  the  Festival.  Some  fifteen  or  eighteen  clerks  were  em- 
ployed in  attending  to  the  calls  of  purchasers.  There  was  one 
clerk  for  selling  reserved  seats  for  each  morning,  and  one  also 
for  each  evening  performance;  two  clerks  for  unreserved  seats, 
one  for  morning  and  one  for  evening  tickets;  two  for  the  sale 
of  programmes,  or  books  of  words;  besides  which,  several 
other  officers  were  employed,  giving  the  whole  an  air  of  busi- 
ness almost  equal  to  the  stock  exchange,  Paris.  It  was  inter- 
esting to  see  the  rush  for  tickets,  a  great  part  of  which  had  been 
already  taken  by  previous  application.  In  order  to  prevent  a 
preference  being  given  to  any  one  person,  the  names  of  all  ap- 
plicants are  registered ;  the  books  are  closed  on  a  certain  day, 
say  three  or  four  days  before  the  performances  begin,  and  then 
the  places  are  disposed  of,  not  in  the  order  of  applicants,  but 
by  lot.     But  here  I  must  close. 


204  BIRMINGHAM   FESTIVAL. 


LETTER  XLIII. 

The  Birmingham  Festival— Continued. 

September,  1852. 

The  Birmingham  Musical  Festival  for  1852  is  past,  and  its 
success  has  been  most  triumphant.  The  highest  anticipations 
of  its  warmest  friends  have  been  fully  realized,  and  they  are 
satisfied  both  with  the  musical  and  pecuniary  results.  This 
Festival  is  triennial.  We  well  remember  the  gratification  an 
attendance  in  1837  afforded  us.  At  that  time  Mendelssohn's 
St.  Paul  was  performed  under  the  direction  of  the  talented  com- 
poser himself.  He  also  gave,  during  an  evening  performance, 
an  example  of  his  wonderful  power  in  extemporaneous  organ- 
playing,  which  we  can  never  forget.  At  the  same  Festival,  the 
Chevalier  Neukomm  brought  out  an  oratorio,  The  Ascension. 

The  Birmingham  Festival  has  existed  for  almost  a  century. 
It  had  but  a  small  beginning,  but  has  been  gradually  increasing 
until  now  its  occurrence  may  be  said  to  move  the  whole  musi- 
cal kingdom.  Its  profits  are  devoted  to  the  support  of  the  Bir 
mingham  Hospital ;  and,  notwithstanding  the  great  expenses,  it 
never  foils  to  pay  over  a  large  sum  to  the  charity.  It  brings 
together  the  very  best  musical  talent  that  can  be  found,  and  the 
works  of  the  greatest  masters  are  performed  under  circum- 
stances more  advantageous  than  are  elsewhere  afforded  in  the 
world.  In  looking  over  the  list  of  performers,  we  find  the 
names  of  Catalina,  Malibran,  Grisi,  Sontag,  Jenny  Lind,  Lab- 
lache,  Tamburini,  Mario,  Staudigl,  and  all  the  first  vocalists 
that  have  lived  within  the  last  fifty  years.  Several  oratorios 
have  been  written  expressly  for  this  occasion,  the  greatest  of 
which  is,  undoubtedly,  Elijah.  This  masterly  production  of 
Mendelssohn  was  first  produced  here  in  1846.     "I  feel,"  said 


BIRMINGHAM    FESTIVAL. 


205 


Mendelssohn,  "much  more  interest  in  this  work  than  for  my 
others,  and  I  only  wish  it  may  last  so  with  inc."'  It  was  his 
rreat  work,  and  it  will  carry  clown  the  name  of  the  gifted 
author  to  many  succeeding  generations.  It  is  remarkable  that, 
in  making  alterations  in  this  oratorio  after  the  first  copy  had 
been  given  out,  Mendelssohn  gave  directions  to  omit  the  very 
popular  song  •■  0  resi  in  the  Lord."  To  this  Mr.  Bartholomew, 
the  English  translator,  so  strongly  objected  that  it  was  allowed 
to  remain.  After  the  first  performance  of  the  oratorio  in  1846, 
Mendelssohn  made  many  alterations,  and  yet  more  when  the 
German  copy  was  finally  published  at  Leipzig. 

Great  preparations  were  made  lor  the  Festival  this  year,  and 
it  is  believed  that  a  better  band  and  chorus  were  brought  to- 
gether than  on  any  previous  occasion.  The  instrumental  de- 
partment was  as  follows  : 


First  Violins 26 

1  Violins.  ...   26 

Tenors 18 

Violoncellos 18 

Donbl                ...   18 
Flutes 4 


Oboes 4 

Clarionets 4 

Bassoons 4 

Trumpets 1 

Horns 4 

Trombones 3 


Ophieleide 

Serpents 

Double  Drum, 
Side  Drum, 
Triangle, 
Bass  Drum. 


In  all,  one  hundred  and  forty  instruments  ;  to  which  must  be 
added  the  great  organ,  one  of  the  most  powerful  in  the  world. 
The  vocal  chorus  consisted  of  eighty  to  ninety  voices  on 
part,  as  soprano,  alto,  tenor,  and  bass;  in  all,  about  three  hun- 
dred and  thirty  or  forty  voices.  It  must  be  understood  that 
these  were  all  real  (not  merely  nominal)  singers,  capable  of 
sustaining  their  respective  parts.  The  parts  were  well  bal- 
anced, and  the  chorus  blending  was  admirable,  no  individual 
being  heard.     The  alto  consisted  of  both  female 

-:  yet  the  men's  voices  were  kept  in  good  subjection. 


206  BIRMINGHAM   FESTIVAL. 

and  only  once  or  twice  during  the  four  days'  performance,  did 
they  appear  severe  or  hard.  The  solo  singers  were  the  best 
that  could  be  obtained  in  Europe ;  they  did  not  include  some 
of  the  best  artists,  because  they  could  not  be  obtained ;  for 
example,  great  efforts  were  made  to  procure  the  assistance  of 
Henriette  Sontag,  but  the  Americans  had  drawn  her  away,  and 
no  inducement  that  was  held  out,  could  prevail  upon  her  to  re- 
main. Madame  Goldschmidt  was  also  applied  to  in  vain ;  nor 
could  Lablache  or  Mario  be  obtained.  But  still,  such  an 
amount  of  vocal  talent  as  was  procured  is  not  often  brought 
together,  as  will  appear  by  the  following  catalogue  of  names, 
all  of  whom  were  present : 


Madame  Viardot  Garcia, 

Madame  Castellan, 

Miss  Dolby, 

Madame  Clara  Novello, 

Mr.  Lockey, 

Mr.  T.  Williams, 

Mr.  Sims  Reeves, 


Mdlle.  Anna  Zerr, 
Mdlle.  Bertrandi, 
Miss  M.  Williams, 
Signor  Tambelik, 
Herr  Formes, 
Mr.  Weiss, 
Signor  Polinini, 


Signor  Belletti. 

Besides  the  above,  there  were  solo  instrumentalists  as  fol- 
lows : — 


Violin,  M.  Sainton, 
Violoncello,  Sig.  Piatti, 
Organist,  Mr.  Stimpson, 


Double  Bass,  Sig.  Bottesini, 
Pianoforte,  Herr  Kuhe, 
Conductor,  Mr.  Costa. 


The  general  rehearsal  was  on  the  day  previous  to  the  com- 
mencement of  the  Festival,  at  which  the  band,  the  chorus,  and 
the  solo  singers  were  brought  together.  The  former  took  their 
places  in  the  orchestra,  but  the  solo  singers  came  into  the  body 
of  the  Hall.  This  gave  us  a  fine  opportunity  of  seeing  them 
all,  and  of  shaking  hands  with  some  of  them.     Belletti  seemed 


BIRMINGHAM    FESTIVAL.  207 

glad  to  meet  an  American,  and  his  countenance  brightened  as 
he  spoke  of  Castle  Gar  den  and  other  concert  places.  He  re- 
members his  tour  and  his  American  friends  with  gratitude,  and 
384  1  a  hope  yet  again  to  sing  in  the  United  States.  Mad- 
ame Clara  Novello  looks  almost  as  young  as  in  1837,  and  is  as 
social  and  pleasant  as  before  she  became  a  countess.  Herr 
Formes  is  a  noble  specimen  of  a  man;  he  is  full  of  pleasantry 
and  good  humor;  his  voice  in  conversation  is  rich,  full,  sonor- 
ous and.  as  a  gentleman  near  us  observed,  "seems  to  come 
from  a  thirty-two  foot  diapason."  Madame  Viardot  Garcia  is 
a  most  interesting  person  ;  perhaps  she  appeared  the  more  so  to 
us,  since  we  knew  her  to  be  one  of  the  greatest  singers  living. 
She  seems  to  be  perfectly  easy  and  unaffected  in  her  deport- 
ment, and  simple  as  a  little  child.  Frankness,  honesty,  and 
firmness  of  purpose  are  strongly  indicated  by  her  open  and  in- 
telligent countenance.  She  is  not  handsome  :  she  may  be  called 
plain  in  her  personal  appearance  ;  but,  nevertheless,  one  cannot 
look  at  her  with  indifference,  or  hear  her  voice  without  a  draw- 
ing out  of  the  heart  towards  her.  Miss  Dolby,  the  greatest  of 
English  alto  singers,  has  a  noble  countenance  ;  generous,  open, 
honest,  and  intelligent.  Madame  Castellan  is  always  smiling 
and  apparently  happy ;  she  turns  her  head  one  side,  and  looks 
as  if  nothing  troubled  her, — save,  perhaps,  Time ;  who  is  evi- 
dently making  inroads  upon  a  fair  and  blooming  countenance, 
and  a  brilliant,  sparkling  eye.  It  was  interesting  to  study  the 
physiognomy  of  the  fine  company  of  artists,  and  to  mark  their 
cordial  greetings  as  they  flrst  met.  The  rehearsal  commenced 
at  11  o'clock,  and  (with  the  exception  of  the  necessary  inter- 
mission for  refreshments)  continued  until  nearly  12  at  night. 
Such  pieces  only  wire  taken  up  as  were  new,  or  not  generally 
known.  A  part  of  Samson,  a  new  posthumous  motettc  by 
Mendelssohn,  his  fragment  of  an  oratorio.  Christus,  and  also  of 


208  BIRMINGHAM  FESTIVAL. 

Lprelie.  Beethoven's  great  9th,  and  various  other  pieces  be- 
longing to  the  evening  performances,  were  more  or  less  re- 
hearsed. Beethoven's  Choral  Symphony  occupied  about  two 
hours.  It  was  evidently  the  piece  for  the  success  of  which  Mr. 
Costa  felt  the  greatest  anxiety — since  it  is  the  most  difficult 
composition  on  the  programme;  and  he  spared  no  effort  to 
make  its  performance  perfect.  It  was  originally  written  for  the 
London  Philharmonic  Society  ;  but  it  was  not  performed  with 
any  success  until  long  after  its  production. 

This  rehearsal-day  was  full  of  interest  and  instruction,  and 
afforded  us  an  opportunity  of  standing  a  little  behind  the  cur- 
tain, and  of  seeing  something  more  of  the  principal  vocalists 
than  we  otherwise  could  have  done.  Though  tedious,  the  re- 
sult was  satisfactory ;  and  when  it  was  nearly  12  o'clock,  and 
the  company  parted,  there  seemed  to  be  a  general  assurance  of 
a  successful  performance  on  the  morrow. 

First  Day — Tuesday.  "  Elijah." — The  morning  was  inaus- 
picious. The  clouds,  dark  and  heavy,  at  once  shut  out  the 
cheerful  light  of  the  sun,  and  poured  out  a  cold,  continuous 
rain,  which  was  anything  but  musical  in  its  appearance  and  in- 
fluence. We  left  our  lodgings  about  an  hour  before  the  time 
appointed  for  the  commencement  of  the  performance,  and  as  we 
came  to  the  street  leading  directly  to  the  Hall,  we  found  the 
sidewalks  filled  with  people  of  all  ages  and  descriptions,  who, 
notwithstanding  the  mud  and  wet,  had  taken  their  stand  to  look 
into  the  carriages  as  they  passed.  Ihe  row  of  carriages  at  this 
time  extended  full  a  quarter  of  a  mile  from  the  Hall.  The 
police  regulations  were  excellent,  and  officers  were  stationed 
all  around  to  see  that  they  were  observed.  As  the  carriages 
were  not  permitted  to  break  the  line,  and  moved  very  slowly, 
a  fine  opportunity  was  afforded  to  those  on  the  sidewalks  to  get 


BIRMINGHAM   FESTIVAL.  2U'J 

a  glimpse  of  the  beautiful  ladies  and  their  elegant  dresses, — and 
this  was  about  all  that  the  common  people  eould  get  of  the 
stival; — the  eye  was  gratified  with  a  passing  view  of  ele- 
gance  and  splendor  without,  although  the  car  might  not  be  per- 
mitted to  hear  the  wonderful  combinations  and  successions  of 
sounds  within. 

On  arriving  at  the  Hall  we  took  a  stand  so  as  to  have  a  view 
of  the  carriages  as  they  came  up,  and  of  the  ladies  and  gentle- 
men as  they  alighted,  under  cover,  and  walked  up  to  the  en- 
trance. Xo  person  was  allowed  to  come  within  about  two 
hundred  feet  of  the  outer  door,  where  the  carriages  stopped, 
unless  he  was  going  to  attend  the  concerts ;  so  there  was  no 
crowding  or  pressing  together  at  any  of  the  places  of  entrance. 
At  a  quarter  past  10,  the  unreserved  places  were  all  occupied, 
and  those  who  had  taken  reserved  seats  were  fast  coming  in 
and  filling  them. 

The  great  Hall  now  presented  a  most  splendid  appearance. 
It  seemed  as  if  all  the  beauty  and  fashion  of  the  kingdom,  all 
the  colors  of  the  rainbow,  and  all  the  resources  of  embellish- 
ment, had  been  called  in  to  enliven  and  give  effect  to  the  bril- 
liant spectacle.  Not  the  least  interesting  was  the  organ  gallery, 
choir,  or  orchestra  ;  its  towering  seats  being  so  arranged  as  to 
bring  within  the  view  of  almost  every  spectator  the  whole  num- 
ber (nearly  five  hundred)  of  instrumental  and  vocal  performers. 
Aj  the  time  for  beginning  approached,  the  organ  poured  forth 
its  full  and  prolonged  chords  in  the  majestic  and  solemn  key 
of  D  minor,  setting  the  whole  atmosphere  in  motion, and  filling 
the  spare  with  a  torrent  of  sound.  This  continued  for  three  or 
five  minutes,  and  afforded  an  opportunity  for  the  instrumental- 
ists  to  tun.-  and  prepare  for  addon.  At  balfpast  11,  Lord 
Leigh,  the  President  of  the  Festival,  took  his  seat  in  the  front 
gallery  opposite  the  conductor;  at  the  same  moment,  the  solo 


210  BIRMINGHAM  FESTIVAL. 

singers  came  in  and  took  their  seats.  These  were  followed  by 
Costa,  who  was  received  on  this  as  on  every  other  occasion  on 
his  entrance  into  the  Hall  during  the  four  days,  with  warm  ap- 
plause by  the  performers  as  well  as  by  the  audience.  After 
bowing  repeatedly  to  both  parties,  he  lifted  the  baton  ;  when, 
in  an  instant,  all  was  hushed ;  and  Madame  Castellan  led  off  (in 
the  key  of  B  flat)  with  God  save  the  Queen..  The  whole  audi- 
ence instantly  rose,  and  remained  standing  during  the  three 
stanzas,  the  second  of  which  was  by  the  solo  voices  in  F,  and 
the  third  by  the  whole  band  and  chorus  in  the  original  key. 

As  soon  as  this  was  closed,  Herr  Formes  (For-mez),  as  Eli- 
jah, arose,  and  in  his  deep,  solemn  voice,  announced  the  curse : 
As  God,  the  Lord  God  of  Israel  liveth,  before  ivhom  I  stand ; 
there  shall  not  be  deio  nor  rain  these  years,  but  according  to  my 
word.  The  effect  was  fearful ;  and  a  sense  of  awe  or  dread 
seemed  to  rest  upon  the  people.  The  gloom  and  desolation  of 
the  famine  thus  brought  up  to  the  imagination,  was  immedi- 
ately and  most  effectively  presented  by  the  soft  and  plaintive 
strains  of  the  overture,  which  was  without  a  fault  in  its  per- 
formance, and  which  prepared  the  way  for  the  cry  of  the  peo- 
ple, Help,  Lord !  ivilt  thou  quite  destroy  us?  This  chorus,  and 
especially  the  movement,  The  harvest  now  is  over,  was  wonder- 
fully effective.  Thus  the  Elijah  had  begun  in  good  earnest. 
The  solo  singers  were  Madame  Castellan,  Madame  Clara  No- 
vello,  Madame  Viardot,  Miss  Dolby,  Miss  Williams,  Mrs.  Bull, 
Herr  Formes,  Mr.  Lockey,  Mr.  Sims  Reeves,  Mr.  Weiss,  and 
Mr.  T.  Williams. 

We  have  already  alluded  to  the  introductory  prologue,  (the 
announcement  of  the  curse,)  by  Herr  Formes ;  great,  very  great 
was  his  rendering,  throughout,  of  the  extremely  difficult  part  of 
Elijah ;  and  he  fully  met,  in  his  after-performance,  all  the  ex- 


BIRMINGHAM   FESTIVAL.  211 

pectations  he  awakened  by  the  splendid  delivery  of  this  opening 
recitative. 

Mr.  Lockey,  who  has  a  very  pure  tenor  voice,  and  a  chaste 
style,  though  not  much  power,  sang  with  great  acceptance,  the 
charming  air,  If  with  all  your  hearts  ye  truly  seek  me,  as  also  the 
preceding  recitative.  The  double  quartet  (a  very  popular 
piece)  was  well  given ;  and  we  thought  that  if  those  churches 
which  perfer  quartet  singing  could  always  have  as  good  a 
double  quartet  as  this,  less  offence  would  be  given  to  true  taste. 
There  were  time,  tunc,  and  equality  of  voices,  three  things  not 
always  found  in  our  church  quartets.  It  is  comparatively  easy 
to  train  a  chorus  to  sing  well,  but  a  quartet  requires  artists.  It 
is  not  easy  to  obtain  a  good  one. 

Miss  Williams  sang  the  recitative,  Now  Cheritli's  brook  is 
dried  up,  as  well  as  one  could  desire  to  hear  it.  A  charming  voice, 
and  a  most  perfect  delivery  of  every  tone  and  of  every  word. 
The  succeeding  recitatives  and  duet  between  The  Widow,  and 
Elijah,  were  by  Madame  Castellan  and  Herr  Formes.  Mad. 
Castellan's  manner  was  altogether  too  light  and  careless.  She 
appeared  indifferent,  and  manifested  none  of  the  deep  feeling  so 
necessary  to  the  circumstances.  Indeed,  she  did  not  seem  to 
care  whether  her  son  was  restored  or  not.  Besides  this,  we 
cannot  help  thinking  our  author  himself  somewhat  in  fault  here. 
The  scene  appeared  to  us  to  be  a  failure ;  that  is,  it  wanted  the 
appearance  of  appropriate  emotion.  Not  so  the  scene  between 
Elijah,  Ahab  and  the  People,  As  God  the  Lord  of  Sabaoth  lire///, 
&c,  in  which  the  performers  seemed  to  be  in  good  earnest,  and 
in  which  the  composer  appears  to  have  furnished  a  musical 
form  well  adapted  to  express  the  sentiments  of  the  text. 

The  recitative  by  Elijah,  (Herr  Formes.)  0  thou  who  makest 
thy  angeh  spirits,  &c.,  hushed  the  multitudinous  audience  to  a 
perfect    stillness.      Softly,    gently,  yet    most    distinctly    and 


212  BIRMINGHAM   FESTIVAL. 

solemnly,  were  the  words  uttered  ;  and  the  effect  was  most 
thrilling.  The  following  air,  or  rather  the  latter  part  of  it,  For 
God  is  angry  with  the  wicked  every  day,  however  well  done  by 
Herr  Formes,  was  a  failure.  It  is  the  fault  of  the  composer  ; 
Mendelssohn's  music  may  well  paint  the  anger  of  some  earthly 
tyrant,  or  the  rage  and  passion  of  some  disappointed  and  jealous 
lover,  but  to  attempt,  in  this  way,  to  paint  the  anger  of  the 
great  Jehovah,  is  absurd.  His  anger  is  terrible;  so  says  his 
word ;  but  any  human  impersonation  or  representation  of  it 
must  fail.  A  simple  announcement  of  these  words,  in  slow 
recitative,  or  in  a  plain,  solemn  melody,  without  any  attempt  at 
imitation,  would  be  in  much  better  taste.  Indeed,  the  effect  of 
the  air  is  not  to  bring  up  to  one's  mind  the  fearful  anger  of 
God,  but  rather  the  power  of  the  singer's  execution. 

But  what  shall  be  said  of  the  'following  air,  Woe  unto  them 
who  forsake  him  !  Here  the  composer  has  done  justice  to  the 
text ;  but  we  doubt  whether  it  ever  entered  into  his  mind  to 
conceive  the  wonderful  effect  produced  by  Mad.  Yiardot's 
rendering  of  the  passage.  Her  whole  external  manner  and  ap- 
pearance were  most  beautifully  appropriate,  and  the  very  first 
tone  she  uttered  seemed  to  tell  of  deepest  compassion  and 
strongest  desire.  Description  here  is  impossible ;  it  was  the 
gem,  the  strongest  point  in  the  whole  oratorio.  It  touched  the 
heart,  and  tears  flowed  forth.  The  audience  were  still  as  death ; 
every  one  was  compelled  to  give  breathless  attention.  We 
wish  we  could  give  some  idea  of  the  agony  expressed  by  the 
words,  Destruction  shall  fall  upon  them,  for  they  have  trans- 
gressed against  him.  And  then  came  the  contrast  of  that  which 
had  been  done  for  them,  with  the  return  they  had  rendered. 
By  him  redeemed — that  word  "redeemed,"  especially,  was  given 
with  wonderful  power.  It  brought  up  to  our  minds  most  vivid- 
ly, the  passage,  "  How  often  would  I  have  gathered,  and  ye 


BIRMINGHAM    FESTIVAL.  213 

would  not."     [See  Matthew  am.  37.]     Tenderness,  deep  com- 
;.  strong  the  deliverance  of  the  guilty  and  the 

wretch  perfectly  expressed  by  Madame  Viardot.     Al- 

though Mr.  Costa  paused  a  little,  after  this  wonderful  effective 
if  he  was  unwilling  to  disturb  the  tender  and  deep  feel- 
\  ite.l.  yet  too  soon  came  the  following  scene.  We  were 
almost  angry  with  Madame  Castellan — Nearest  thou  the  sound 
of  rain  ?  Secst  thou  nothing  arise  from  the  deep  ?  u  No  ;  there 
is  nothing:*"  said  the  youth.  Quite  descriptive  of  your  per- 
formance, thought  we;  indeed  M  there  is  nothing'—  or  at  least 
no  appropriate  feeling  manifested  in  the  singing.  Here,  again, 
we  think  our  author  somewhat  in  fault ;  it  is  a  mistake 
thus  to  try  to  prevail  on  God  by  blasts  of  trombones ; — more 
gentle  language  seems  better  adapted  to  him  who  cries  for  mer- 
cy in  the  words.  "  unto  thee  icill  I  cry,  0  Lord,  my  rock  ;  be  not 
silent  to  me ;  and  in  great  mercies  remember,  Lord. 

The  chorus  that  concludes  the  first  part  of  the  oratorio, 
'•Thanks  be  to  God,"  was  most  magnificently  done.  The 
second  part,  especially.  The  stormy  billows  are  high  ;  their  fury 
is  mighty:  but  the  Lord  is  above  them.  Almightv.  was  given 
in  a  manner  not  easily  to  be  surpassed  by.  human  power.  A 
-  of  twenty  minutes  gave  one  an  opportunity  to  breathe 
again,  to  look  around  upon  the  splendid  scene,  and  to  recover 
strength  tor  the  remainder  of  the  oratorio. 

in  the  loud  organ  poured  forth  its  minor  chords,  the  in- 
struments were  timed,  and  in  a  few  moments  the  clear,  trans- 
.. -banting  voice  of  Madame  Clara  Nbvello,  singing 
most  delightfully,  flcar,  ye  Lsrael ;  hear  what  the  Lord  sj^aketh, 
was  heard.  Madame  Clara  Novello  has  indeed  a  most  charm- 
ing voice,  than  which  nothing  in  tl  an  be  more 
perfect  Her  use  of  it.  to.,,  i  and  beautiful  in  th 
est  degree,  and  in  her  singing  of  this  song,  nut  a  fault  could  be 


214  BIRMINGHAM  FESTIVAL. 

detected.  She  cannot  execute  a  passage  like  Sontag,  (nor  can 
any  one  else,)  but  in  a  different  way,  we  had  almost  said,  she  is 
equally  as  good.  To  say  this,  however,  or  to  say  that  any  one 
is  as  good  as  Sontag,  is  a  bold  thing ;  and  we  are  glad  we  did 
not  quite  say  it.  But  Madame  Viardot  is  again  heard  in  the 
splendid  scene  in  which  Jezebel  denounces  Elijah.  The  recita- 
tives were  delivered  with  great  dramatic  power ;  we  have  sel- 
dom, if  ever  before,  heard  such  powerful  declamation  in  recita- 
tive. Madame  Viardot  Garcia  excels  in  this  particular  depart- 
ment of  song  ;  she  belongs  to  the  great,  the  tragic,  or  to  what- 
ever calls  forth  the  deep  passions  of  the  soul.  Mr.  Sims 
Reeves  made  fine  use  of  his  beautiful  voice,  in  the  Recitative, 
Man  of  God;  yet  with  still  better  effect  did  he  give  the  fine 
song  afterwards,  "  Then  shall  the  righteous  shine  forth."  The 
trio,  "  Lift  up  thine  eyes,"  (originally  written  as  a  duet,  and 
afterwards  changed  to  a  trio,)  was  sung  by  three  perfect  voices^ 
viz.  :  Madame  Clara  Novello,  Miss  M.  Williams,  and  Miss 
Dolby  ;  and  we  doubt  whether  it  ever  was  or  ever  will  be  done 
better.  Notwithstanding  applause  was  strictly  prohibited,  the 
audience  could  not  be  restrained  ;  there  was  a  gentle  moving 
and  slight  clapping  of  the  hands,  which  caused  the  President, 
Lord  Leigh,  to  make  a  sign  for  its  repetition.  "  He  watches 
over  Israel,"  the  succeeding  chorus,  may  be  regarded  as  a  part 
of  the  trio,  and  its  performance  was  equally  good.  Most 
charming,  too,  was  the  air,  "  O  rest  in  the  Lord."  Miss  Dolby, 
who  sang  this  song,  has  as  fine  an  alto  voice  as  any  one  in  the 
world,  not  excepting  even  Alboni  herself;  she  is  also  an  accom- 
plished singer,  being  one  of  the  best  English  vocalists  living. 
Herr  Formes,  always  good,  seemed  to  rise  as  he  drew  near  to 
the  end  of  his  part ;  his  magnificent  voice,  his  perfect  declama- 
tion, his  dignified  manner,  his  pathos  and  expression,  left  nothing 
to  be  desired  in  the  part  of  Elijah  ;  and  that  most  beautiful  air, 


BIRMINGHAM    FESTIVAL.  215 

"For  the  mountains  shall  depart,  and  the  hills  be  removed," 
with  its  rich  vein  of  melody,  Was  not  only  one  of  the  finest  ex- 
hibitions of  the  artist's  wonderful  vocal  power,  but  a  most  ap- 
propriate finale  to  the  tine  reading  of  the  music,  and  general 
sentation  of  the  character  which  had  been  given.  We 
have  heard  it  remarked  that  the  close  of  the  oratorio  is  heavy 
and  uninteresting ;  this,  however,  cannot  be,  if  it  is  well  done. 

There  was,  on  this  occasion,  but  one  feature  to  the  pieces  fol- 
lowing Elijah's  last  song,  and  that  was  unvaried  excellence; 
while  the  closing  chorus  was  truly  magnificent.  The  choruses 
throughout  the  whole  oratorio  were  well  done,  (though  we  think 
the  English  chorus  singers  less  firm  and  sure  than  the  German,) 
and  the  orchestra  could  have  hardly  been  better.  The  oratorio 
closed  at  half-past  two,  and  many  were  heard  to  exclaim,  "  We 
never  heard  Elijah  so  well  done  before;"  Costa  himself  is  said 
to  have  made  the  remark :  "  I  have  no  wish  ever  to  conduct 
Elijah  again,  for  I  can  never  expeet  to  have  such  a  band  under 
my  control." 

We  cannot  now  enter  into  any  review  of  the  excellencies  of 
the  oratorio,  but  must  assume  that  our  readers  have  heard  it,  or 
have  so  examined  and  studied  the  score  as  to  know  something 
of  this  great  production  of  Mendelssohn  ;  which  has  certainly 
taken  stronger  hold  of  the  English,  than  any  other  oratorio 
since  the  days  of  Handel.  It  seems  to  be  the  opinion  of  musi- 
cal men,  that  Elijah  ranks  with  the  greatest  productions  of 
human  genius,  and  is  destined  to  live  with  the  Messiah,  Israel 
and  Samson.  Indeed,  not  a  few  are  found  who  even  give  to 
Elijah,  considered  as  a  perfect  whole,  the,  first  place  ;  who  say 
that  it  is  free  from  those  weaknesses  that  are  found  in  all  similar 
productions,  and  that  in  every  piece,  the  inu>ie  worthy  of  the 
subject  is  faultless.  While  we  are  clearly  of  the  opinion  that 
it  ranks  very  high,  coming  next,  perhaps,  to  Handel,  and  while 


216  BIRMINGHAM   FESTIVAL. 

we  may  be  disposed  to  admit  that  in  a  mere  scientific  or  techni- 
cal view  it  may  be  more  finished  than  the  Messiah,  still  we  can- 
not, as  yet,  believe  that  it  comes  near  to  that  immortal  work, 
or  that  it  will  ever  become  so  universally  popular  ;  nor  that  in 
point  of  true  sublimity  it  is  to  be  compared  for  a  moment  with 
the  greatest  of  all  Handel's  productions  "  Israel  in  Egypt." 

Since  writing  the  foregoing,  we  have  thought  that  the  entire 
cast  of  the  oratorio  would  be  interesting  to  our  readers  who 
are  in  possession  of  Elijah  ;  and  who  is  he,  being  a  musician, 
who  has  not  obtained  a  copy  of  this  great  work  ? 

PART  I. 
Prologue,  Herr  Formes,  "  As  God  the  Lord," 
Duet  and  Chorus,  Madame  Castellan  and  Miss  Williams,  "  Zion  Spread- 

eth  her  band."     "  Lord  bow  thine  ear." 
Recitative  and  Air,  Mr.  Lockey,  "  If  with  all  your  hearts." 
Recitative,  Miss  Dolby,  "  Elijah  get  thee  hence." 
Double    Quartet,  Madame    Castellan,  Mrs.  Bull,  Miss  Dolby,   Miss    M. 

Williams,  Mr.  Lockey,  Mr.  T.  Williams,  Mr.  Weiss,  and  Mr.  Smytbson, 

"  For  he  shall  give." 
Recitative,  Miss  M.  Williams,  "  Now  Cherith's  brook." 
Recitative  and  Duet,  Madame  Castellan  and   Herr  Formes,  "  Give   me 

thy  son." 
Recitative  and  Chorus,  Herr  Formes  and  Mr.   Lockey,  "  As  God   the 

Lord." 
Recitative,  Herr  Formes,  "  Call  him  louder." 
Recitative  and  Air,  Herr  Formes,  "  Draw  near  all  ye  people." 
Quartet,  Madame  Castellan,    Miss  M.  Williams,  Mr.   Lockey  and   Mr. 

Weiss,  "  Cast  thy  burden." 
Recitative,  Herr  Formes,  "  0  thou  who  makest." 
Recitative,  Herr  Formes  end  Chorus,  "Take  all  the  prophets." 
Air,  Herr  Formes,  "  Is  not  his  word  like  a  Fire  ?" 
Air,  Madame  Yiardot  Garcia,  "  Woe  unto  them." 
Recitative,  Mr.  Lockey,  "  0  man  of  God." 
Recitative  and  Chorus,  Herr  Formes  and  Madame  Castellan,  "  0  Lord, 

thou  hast  overthrown." 


BIRMINGHAM   FESTIVAL.  217 

PART  II. 

Air,  Madame  Clara  Xovello,  "Hear  ye,  Israel." 

Ri:<  itative,  Herr  Forme*,  "The  Lord  hath  exalted." 

Solo,  Madame  Viardot  Garcia,  and  Chorus,  M  Have  ye  not  heard." 

RixiT.vnvt,  Mr.  Sims  Reeves,  u  Man  of  God." 

Recitative  and  Am,  Herr  Formes,  "  It  is  enough,  O  Lord." 

Recitative,  Mr.  Sims  Reeves,  "  See  now  he  sleepeth." 

Taio,  Madame  Clara  Xovello,  Miss  M.  "Williams  and  Miss  Dolby,  "Lift 
thine 

Recitative,  Miss  Dolby  and  Herr  Formes,  "  Arise,  Elijah." 

Air,  Miss  Dolby,  u  O  rest  in  the  Lord." 

Recitative,  Herr  Formes  and  Madame  Clara  Xovello,  "  Night  falleth." 

Recitative.  Miss  Dolby,  "  Above  him  stood." 

Quartet  and  Chorus,  Madame  Clara  Xovello,  Mm  Bull,  Miss  M.  "Wil- 
liams and  Miss  Dolby,  "  Holy,  holy,  holy." 

Choral  Recitative  and  Solo,  Herr  Formes  and  Chorus,  "  Go,  return 
upon  thy  way." 

Air,  Herr  Formes,  "  For  the  mountains." 

Air,  Mr.  Sims  Reeves,  "  Then  shall  the  righteous." 

Recitative.  Madame  Clara  Xovello,  "  Behold  God  hath  sent." 

Quartet,  Madame  Clara  Xovello,  Miss  M.  Williams,  Mr.  Sims  Reeves,  and 
Mr.  Weiss,  "  O  Come  every  one." 

The  amount  of  money  received  for  this  morning's  perform- 
ance was  somewhat  more  than  eleven  thousand  and  five  hun- 
dred  DOLLARS. 

■ 

Tuesday  evening. — The  weather  was  unpropitious,  and  the 
owning  was  cold  and  damp.  The  Hall  was  not  much  more 
than  half  filled.  At  no  other  performance  during  the  Festi- 
val, was  the  audience  so  small  as  this  evening.  The  concert 
commenced  at  eight,  and  the  programme  was  as  follows : 

PART  I. 

Overture,  Jessondu Spohr. 

Aria,  Siguor  Belletti,  "  Sorgctte."     Amdio  di  ( 'vrinto Rossini. 

10 


218  BIRMINGHAM   FESTIVAL. 

Trio,  Miss  M.  Williams,  Mr.  T.  Williams,  and  Mr.  Lockey,  "  Valine 

a  colei." Costa. 

Aiiia,  Mde.  Castellan,  "0  luce  di  quest  anima."     Linda Donizetti. 

Duo,  Mdle.   Anna  Zerr  and  Mr.  Sims  Reeves,  "  Sulla  tomba." 

Lucia  di  Lammermoor Donizetti. 

Aria,  Signor  Tamberlik  e  Coro,  '•  Ah  !  non  temer."     Faust Spohr. 

Aria,  Miss  Dolby,  "  Nobil  Signor."  Huguenots Meyerbeer. 

Duo,  Madame  Viardot  Garcia  e  Madame  Castellan,  "  Per  serbar 

me  fedel."     Proplietc Meyerbeer. 

Aria,  Madame  Clara  Novello,  "  Deh  vieni."     Nozze  di  Figaro. . .  .Mozart. 

Finale,  Madame  Castellan,  Mdlle.  Bertrandi,  Signor  Tamberlik, 

Mr.    Lockey,    Signori   Polinini,    Belletti    e    Coro,     "  Mi    ' 
manca  la  voce."     Mose  in  Egitto Rossini. 

PART  II. 
"  The  First  Walpurgis  niglit." Mendelssohn. 

PART  III. 

Overture,  Guillaume  Tell Rossini. 

Air,  Mdlle.  Anna  Zerr,  Variations C.  Proch. 

Aria,  Herr  Formes  e  Coro,  "  Possentti  numi."    R  Flauto  Magico.  .Mozart. 
Duo,  (Violin  e  Violoncello,)  M.  Sainton  e  Signor  Piatti. 
Aria,  Madame  Viardot  Garcia,  "  Nacqui  all  affanno. "  Cenerentola .  .Rossini 
Trio,  Madame  Clara  Novello,  Miss  Dolby,  and  Mr.  Lockey,  "  O 

dolce  e  caro  instante." Cimarosa. 

Air,  Mr.  Sims  Reeves,  "  Soft  Airs"     Euryanthe Weber. 

Duo,  3Ide.  Castellan  e  Signor  Tamberlik.  M  Per  te  d'una  sposa." 

I'Martiri. Donizetti. 

Air,  Mdlle.  Bertrandi,   "Robert,  toi  que  j'aime."  Roberto. ..  .Meyerbeer. 
Preghiera  e  finale,  "Nuina  del  ciel."     Massaniello Auber. 

It  hardly  need  be  said  that  the  great  attraction  of  the  even- 
ing was  the  cantata  by  Mendelssohn — ■"  The  First  Walpurgis 
night."  The  following  explanatory  note  is  from  the  pro- 
gramme of  the  evening.  "  The  Germand  legend,  that  witches 
and  evil  spirits  assemble  on  the  night  of  the  first  of  May  (Wal- 
purgis Nacht)  on  the  summit  of  the  Harz  Mountains,  is  sup- 


BIRMINGHAM    FESTIVAL.  219 

to  have  taken  its  origin  in  the  heathen  time,  when  the 
Christians  tried  by  force  to  prevent  the  Druids  from  observing 
their  accustomed  rights  of  sacrificing  in  the  open  air,  and  on  the 
hills.  The  Druids  are  said  to  have  placed  watches  round  their 
mountains,  who,  with  their  dreadful  appearance,  hovering  round 
the  fires,  and  clashing  with  their  weapons,  frightened  the  enemy, 
and  the  ceremonies  were  proceeded  with."'  On  this  tradition 
Goethe  founded  the  poem,  which  Mendelssohn  has  set  to  music. 
It  begins  with  an  overture,  describing  a  Winter  storm,  and  the 
gradually-approaching  Spring.  It  is  thoroughly  Mendelssohn. 
The  power  of  stringed  instruments  is  wonderfully  brought  out, 
and  the  whole  piece  is  most  effective.     A  spring  song  of  the 

Druids  follow ; 

"Xow  May  again 
Breaks  Winter's  chain, 
The  bnd  and  bloom  are  springing  ! 
No  snow  is  seen, 
The  leaves  are  green, 
The  woodland  choirs  are  singing,"  <fcc. 

This  was  finely  given  by  Mr.  Lockey  and  chorus.  A  solo  by 
Miss  M.  Williams,  "  Know  ye  not  a  deed  so  daring.*'  was  sung 
as  well  as  need  be.  Miss  M.  Williams  has  a  charming  alto 
voice  (we  repeat  it)  and  sings  finely.  A  chorus  of  Druid 
Guards,  M  Disperse,  disperse,  ye  gallant  men,"  brought  out  in 
a  remarkable  manner  pianissimo  ;  it  was  whispered  by  both 
orehestra  and  choir.  This  is  soon  followed  by  a  most  extraor- 
dinary chorus,  to  the  following  words : 

"Come  with  torches  brightly  Hashing; 
Rush  Along  with  billets  clashing; 
Through  the  night-gloom  Lad  and  follow, 
In  ami  out  each  rocky  hollow. 

Owls  end  ravens, 
Howl  with  us,  and  scare  the  cravens." 


220  BIRMINGHAM   FESTIVAL. 

Most  brilliant  and  characteristic  is  the  music ;  Mendelssohn 
seems  to  have  felt  at  liberty  to  employ  all  the  powers  of  instru- 
ments and  voices,  and  he  has  done  so,  in  his  own  masterly  way. 
The  sweep  of  the  tempest,  the  howling  of  the  winds,  and  the 
glare  of  the  torches,  the  rush  to  the  battle,  the  gloom  of  the 
thick  darkness,  and  the  screeches  of  the  birds  of  night,  though 
not  attempted  to  be  particularly  described,  are  yet,  in  general, 
well  portrayed.  The  staccato  is  admirably  employed.  The 
violins  are  fully  occupied,  the  trumpets  and  brass  instruments 
send  forth  their  blasts  of  horror,  the  cymbals  clash,  the  drums 
roar,  and  the  yelling  of  voices  is  heard,  altogether  forming  an 
aggregation  of  sounds  as  frightful  as  ever  entered  into  the  im- 
agination of  mortal  man.  It  was  brought  out,  one  would  sup- 
pose, according  to  the  full  intent  of  the  composer,  and  the 
effect  was  terrific  indeed.  The  "  Legion,"  "  from  Satan's  re- 
gion," "  in  flames  advancing,"  "  on  wolves  and  dragons  riding," 
"  Imp  and  Devil"  having  been  successful  in  driving  away  their 
enemies,  the  cantata  closes  with  a  full  chorus  of  Druids. 

"  Unclouded  now,  the  flame  is  bright, 

Though  faith  from  error  sever  ; 
Though  foes  may  cloud  or  quell  our  light, 
Thy  light  shall  shine  forever." 

And  thus  they  chant  their  hymn  unmolested,  in  grand  and 
solemn  strains.  The  Walpurgis  Night  seemed  to  give  great 
satisfaction ;  and,  for  aught  we  saw,  the  people  were  as  much 
delighted,  and  as  w^ell  satisfied,  with  the  success  of  the  Druids, 
as  with  the  triumphs  of  a  more  mild  and  rational  religion,  based 
on  the  revelation  of  Him  who  came  to  save  from  sin.  The 
moral  effect  of  song  seems  to  be  regarded  as  of  much  less  im- 
portance than  its  artistic  excellence. 

The  overtures,  "  Jessonda,"  and  "  William  Tell,"  were  play- 


BIRMINGHAM   FESTIVAL.  221 

cd  with  great  spirit,  and  the  latter  called  out  a  hearty  encore. 
The  violoncello  solo  was  finely  done  by  Mr.  Charles  Lucas, 
-sor  to  the  veteran  Lindley.  Signor  Belletti  did  himself 
great  credit  by  his  "Sorgette"  of  Rossini,  which  he  sang  with 
the  same  unerring  certainty,  good  taste,  and  perfect  execution 
as  in  America.  Madame  Castellan  was  quite  at  home  in  the 
evening  concerts  ;  she  has  a  great  power  of  vocalization,  sings 
well,  and  generally  pleases.  It  has  been  remarked  that  she 
has  much  improved  since  she  was  in  the  United  States.  The 
duet  from  the  Prophete,  "  Per  serbar  me  fadel,"  was  well  sung 
by  Madame  Viardot  and  Madame  Castellan,  but  it  was  ineffect- 
ive, and  appeared  quite  out  of  place.  It  belongs  to  the  opera, 
and  loses  its  interest  when  taken  out  of  its  connection.  This  re- 
mark is  also  applicable  to  many  of  the  pieces  which  were  sung 
at  this  and  at  the  other  evening  concerts.  Most  extracts  from 
operas  are  quite  dependent  upon  their  relation  to  the  general 
plot,  or  other  musical  pieces,  with  which  they  are  originally 
connected.  Madame  Clara  Xovcllo  sang  very  beautifully  the 
Aria  "  Deh !  Vieni,  non  tardar,"  from  Nozze  de  Figaro,  by  Mo- 
zart. We  should  have  been  charmed  with  this,  had  we  not 
heard  Madame  Jenny  Lind  Goldschmidt  sing  it  both  in  New 
York  and  in  Boston  ;  besides  which,  we  have  heard  it  by  Mad- 
ame Henrietta  Sontag,  in  its  regular  place  in  the  opera.  It  is 
hardly  possible  under  such  circumstances  that  any  other  per- 
formance of  the  same  song  should  bo  satisfactory.  The  closing 
chorus  in  "  Moses  in  Egypt"  was  well  worth  hearing,  as  done 
by  Madame  Castellan,  Mademoiselle  Bertrandi,  Signor  Tamber- 
lik.  Signor  Polinini,  Mr.  Lockey,  and  Signor  Bolletti,  with  the 
full  choir.  The  final  chorus  especially  was  animating  in  a  1 1  i i_r  1 1 
degree.  This  chorus  was  performed  many  years  ago  at  the 
concerts  of 'the  Boston  Academy  of  Music;  it  is  very  brilliant, 
and  we  always  wondered  why  it  should  have  been  altogether 


222  BIRMINGHAM  FESTIVAL. 

omitted  by  the  Boston  Handel  and  Haydn  Society  when  they 
sang  the  music  to  this  popular  opera  of  Rossini.  Mademoiselle 
Anna  Zerr  sang  a  song  requiring  very  difficult  vocalization,  and 
did  it  well ;  but  it  failed  to  please  us,  for  we  could  not  help  mak 
ing  the  comparison  between  the  singer  and  Sontag,  whose  pow- 
ers of  execution  are  much  greater.  Herr  Formes  sang  the  de- 
licious melody  "  Possentti  Numi,"  from  II  Flauto  Magico,  by 
Mozart,  to  perfection ;  but  the  accompanying  chorus  was  rather 
dull  and  heavy — not  much  so,  indeed,  yet  so  much  as  to  be 
quite  intolerable  in  the  Birmingham  Hall.  One  of  the  most 
interesting  performances  of  the  evening  was  a  Duo  (violin  and 
violoncello)  by  Mr.  Sainton  and  Signor  Piatti,  both  artists  of 
great  excellence.  We  think  we  have  never  heard  so  beautiful 
a  tone  from  the  violoncello  before,  not  even  when  in  the  hands 
of  Romberg  of  Berlin. 

An  incident  occurred  towards  the  close  of  the  concert  that 
awakened  some  feeling.  A  duet  near  the  beginning  of  the  pro- 
gramme had  been  omitted,  and,  as  was  naturally  supposed,  on 
account  of  the  absence  of  one  of  the  singers.  The  duet  was  to 
have  been  sung  by  Mademoiselle  Anna  Zerr  and  Mr.  Sims 
Reeves,  and  the  supposition  by  some  persons  present  (concert- 
goers)  was,  that  Mr.  Sims  Reeves  was  the  delinquent ;  conse- 
quently, when  he  came  on  the  stage  to  sing  a  song,  ("  Soft  airs 
around  me  play,"  by  Weber,)  he  was  received  with  a  chorus 
of  hisses.  He  looked  up  aghast,  bowed,  and  retired.  Mr. 
Costa  immediately  arose,  and,  turning  to  the  audience,  said : 
"  It  is  not  Mr.  Reeves'  fault — Mr.  Reeves  was  here  ;  it  was  not 
Mr.  Reeves'  fault."  Loud  cheers  followed.  Mr.  Reeves  reap- 
peared, and,  after  greeting  Mr.  Costa  by  a  warm  shake  of  the 
hand,  proceeded  with  his  song  ;  he  was  loudly  applauded — re- 
called— bowed — and  retired,  amidst  shouts  of  commendation, 
so  long  and  loud  as  to  make  ample  amends  for  the  sibilants  of 


BIRMINGHAM   FESTIVAL.  223 

his  first  appearance.  The  concert  this  evening  closed  at  a  quar- 
ter before  twelve  o'clock  ;  the  amount  received  was  somewhat 
more  than  two  thousand  and  one  hundred  dollars. 

"Wednesday  Morning. — k,CnRisTus,"kl  Creation/' — Although 
the  night  was  dark  and  full  of  rain,  the  morning  opened  bright- 
ly. At  a  little  past  ten,  the  streets  were  full,  and  a  long  line 
of  carriages  extended  nearly  half  a  mile  from  the  Hall,  filled 
with  ladies  and  gentlemen,  making  their  way  towards  the  grand 
aeene  of  attraction.  The  streets  were  almost  impassable,  be- 
cause of  the  crowd  ;  we  took  care  to  have  a  liand  on  the  purse, 
for  some  of  these  English  rogues  are  expert  at  extracting  the 
contents  of  one's  pocket.  The  Hall  was  well  filled  at  an  early 
hour,  and  looked  gayer  in  the  bright  sunshine  of  to-day  than  in 
the  dark  clouds  of  yesterday.  Exactly  at  the  appointed  time, 
the  immense  organ  threw  out  a  volume  of  sound,  in  minor 
chords,  majestic,  sublime.  Oh  !  that  those  little  organists  who 
delight  in  fancy  stops,  and  play  very  sweet  voluntaries  from 
some  Italian  opera,  on  the  flute,  oboe,  and  claribella,  could 
hear,  and  hearing,  feel,  tremble,  be  converted,  and  made  to  ap- 
preciate the  greatness  of  their  instrument,  and  its  true  uses  in 
worship  !  Let  the  full  and  rich  diapasons  sound  on  the  Sabbath 
morning,  for  it  is  they  that  tell  of  God,  saying,  "  The  Lord  is 
in  his  holy  temple  ;  let  the  whole  earth  fear  before  him." 

Tims  far.  the  festival  had  been  quite  Mendelssohnian  in  its 
character  ;  and  this  morning  again  the  concert  commenced  with 
a  new  motet  by  our  great  modern  composer. 

'•  Saviour  of  sinners,  throned  in  glory, 
Adoration,  praise,  and  might  be  unto  Thee. 
Holy  Redeemer,  hear  us  in  mercy  ! 
Save  and  bleat  na,  in  liu-rcy, 
•  Lord,  forgive  onr  na 

d,  let  tliv  mercy  fall  upon  us, 
Saviour  of  siuuers,  hear  ua  in  mercy  1" 


224  BIRMINGHAM  FESTIVAL. 

The  motet  is  written  in  eight  parts ;  its  character  is  truly 
religious,  and  it  seems  well  expressive  of  the  words.  The  same 
subject  as  is  heard  in  Handel's  Hallelujah,  at  the  words,  "  For 
the  Lord  God  omnipotent  reigneth,"  (a  very  common  one,)  is 
brought  in,  though  its  treatment  is  entirely  different  from  that 
of  Handel.  The  piece  was  not  well  performed.  The  chorus 
was  not  only  unsteady,  but  sometimes  out  of  tune.  We  think 
the  piece  itself  was  somewhat  out  of  place,  being  adapted  to  a 
church  rather  than  to  a  concert  room.  This  was  followed  by  a 
posthumous  fragment  of  an  oratorio,  also  by  Mendelssohn, 
called  "  Christus."  It  consists  of  a  succession  of  recitatives 
and.  choruses,  relating  to  the  birth  and  death  of  the  Saviour. 
While  it  undoubtedly  possesses  great  merit,  we  doubt  whether 
Mendelssohn  would  have  consented  to  its  publication.  It  is  a 
first  sketch ;  and  it  is  well  known  how  his  first  sketches  had  to 
yield  to  after-thoughts.  Some  of  the  critics,  however,  praise  it 
very  much,  and  say  that  it  is  an  advance  even  on  "  Elijah." 
The  string  of  recitatives  and  choruses  is  very  peculiar,  remind- 
ing one  somewhat  of  "Israel  in  Egypt,"  yet  there  is  no  approach 
to  similarity  in  the  music.  It  is  highly  dramatic,  and  is  full  of 
striking  passages.  The  composer  makes  great  use  of  the  mi- 
nor, (as  does  every  great  writer,)  for  example  ;  a  recitative, 
"  Then  said  Pilate,"  in  A  minor,  is  followed  by  a  chorus  in  D 
minor  ;  this  again  is  succeeded  by  a  chorus,  highly  dramatic,  in 
G  minor,  attaining  a  climax  in  the  following  chorus,  "  Crucify 
him,"  in  C  minor.  Two  old  German  chorales  are  introduced, 
and  treated  in  the  masterly  manner  in  which  our  author  is 
wont  to  do  such  things.  The  "  Christus"  was  well  received  ; 
and  every  one  spoke  well  both  of  the  composition  and  its  first 
performance  on  this  occasion. 

This  was  followed  by  an  anthem  composed  by  Dr.  Wesle}* 
The  anthem  con^dsts  of  a  quartet,  solo,  recitative,  and  chorus, 


BIRMINGHAM   FESTIVAL.  225 

and  is  written  with  orchestral  accompaniments.  The  words  are 
from  Isaiah,  commencing,  u  The  wilderness  and  the  solitary 
place  shall  be  glad,"  &c.  The  solo  parts  wore  by  Madame 
Clara  Novello,  Miss  M.  Williams,  Mr.  Lockey,  and  Herr 
Formes.  Dr.  Wesley  conducted  the  performance,  but  it  was 
not  well  done.  The  fact,  is,  no  such  thing  can  be  well  done 
with  a  single  rehearsal ;  the  singers  were  not  sufficiently  ac- 
quainted with  it ;  consequently,  there  was  a  want  of  confidence ; 
and  a  kind  of  zi#-za£  or  here-and-there  effect  was  the  result. 
AW-  will  not  pass  judgment  upon  a  composition  that  had  not  a 
fair  trial ;  but  we  were  decidedly  pleased  with  the  fine  contra- 
puntal arrangement  of  the  chorus.  And  now  followed,  as  the 
last  thing  on  the  programme  of  the  morning's  performances, 
the  "  Creation"  of  Haydn.  We  have  never  before  heard  it 
half  so  well  done,  either  in  the  solo,  chorus,  or  orchestral  parts. 
The  chaotic  symphony,  however,  though  exquisitely  played, 
fails  now  to  represent  chaos.  More  modern  authors  have  be- 
come so  much  more  chaotic  in  their  storms,  and  in  various 
representations  of  fiendish  passions,  that  Haydn's  introduction 
seems  like  quite  a  plain  piece  of  harmony.  Perhaps  we  can 
hardly  refer  to  a  clearer  illustration  of  the  advance  of  musical 
science,  than  a  comparison  of  this  piece  with  some  of  Beetho- 
ven's or  Mendelssohn's  dark  and  labyrinthian  harmonies.  The 
solo  parts  were  by  Madame  Clara  Novello,  Madame  Castellan, 
Mr.  Sims  Reeves,  Mr.  Lockey,  Mr.  Weiss,  and  Herr  Formes. 
Very  slowly  and  distinctly  were  the  recitatives  uttered — more 
so  than  we  are  accustomed  to  hear  them  in  the  United  States. 
Madame  Clara  Novello  sang  the  two  soprano  songs  as  well, 
probably,  as  any  living  English  vocalist  can  give  them.  Mr. 
Sims  Reeves  sang  "In  native  worth*'  without  fault,  and  II<  it 
Formes  performed  his  part  in  characteristic  style;  he  is  always 
good  and  great.     The  choruses  all  went  superbly;  we  know 

10* 


226  BIRMINGHAM  FESTIVAL. 

not  to  which  to  give  the  preference.  The  change  in  the  time  in 
"  The  heavens  are  telling"  was  not  so  great  as  we  have  been 
used  to  observe.  The  chorus,  "  Glory  to  his  name,"  a  very 
fine  fugue,  was  magnificently  clone ;  and  indeed  so  were  all  the 
other  choruses.  The  concert  this  morning  closed  at  a  quarter 
before  three  o'clock,  and  the  amount  of  money  received  was 
upwards  of  eight  thousand  and  two  hundred  dollars. 

Wednesdav  Evening. — A  large  and  brilliant  assemblage  was 
waiting  for  half-an-hour  before  eight  Mr.  Costa  was  greeted 
as  usual.  The  band  appeared  to  be  of  good  cheer,  and  the  peo- 
ple full  of  expectation.  The  baton  moved,  and  we  were  listen- 
ing to  the  symphony  (Jupiter)  by  Mozart.  It  is  said  that  this 
great  work  of  Mozart,  together  with  two  other  symphonies,  the 
last  he  ever  composed,  were  all  written  in  the  short  space  of 
six  weeks ;  yet  they  are  regarded  as  among  the  finest  composi- 
tions of  their  class ;  the  Jupiter,  in  particular,  being  often  quoted 
as  one  of  the  finest  specimens  of  contrapuntal  writing  extant. 
The  last  movement  contains  four  distinct  subjects,  which  are 
finally  brought  together  and  worked  up  with  all  the  ingenuity 
of  one  of  the  most  brilliant  musical  geniuses  that  ever  existed. 
Every  member  of  the  orchestra  was  on  the  alert,  and  Costa  was 
everywhere ;  his  eye  or  his  gesticulations  were  in  all  the  parts, 
and  his  direction  firm,  steady,  and  energetic  in  the  highest  de- 
gree.    The  following  is  the  evening's  programme  : 

PART  I. 

Symphony,  "Jupiter." Mozart. 

Aria,  Miss  M.  Williams,  "  Paga  fai."     Proserpina Winter. 

Duo,  Madame  Castellau   e  Siguor  Belletti,  "  Pronta  io  son.'' 

Don  Pasguale Donizetti. 

Aria,  MJe.  Clara  Novello,  ;'Come  per  me."     Somnambula Bellini. 

Solo,  (Pianoforte,)  Herr  Kulie. 

Air,  Madame  Viardot  Garcia,  "  Ah !  mon  fils."     Prophete Meyerbeer. 


BIRMINGHAM   FESTIVAL.  227 

Serknata,  Mr.  Si'  i  v    Ooro,  "Come  gmtil."      Don 

PatgwUe Donizetti. 

Deo,  Signor  Tamberlik  e  Herr  Formes,   "  Sara  il  mourir." 

Maasanidlo  Avber, 

AiiiA.  Mde.  Castellan,  "  Preiuli  per  me."     LElisir  iVAmore DonUetti. 

Aik.  Mr.  \Vriss  MTh«  Wanderer." Schubert. 

Grand  Finalk,  Mde.  Clara  Xovello  and  chorus.     Lorely Mnulelssohn. 

[An  unpublished  posthumous  Opera — first  time  of  performance.] 

PART  II. 

Overtire.     Dcr  Freyschiitz Weber. 

Aria,  Mdlle.  Anna  Zerr,  "  Gli'  angui."     Flauto  Mag'ico Mozarl. 

Song,  Mr.  Lockey,  "  0  beauteous  daughter," Beethoven. 

Trio,  Signori  Tamberlik,  Belletti,  e  Herr  Formes,  "  Trencar 

suoi  di."     Guillaume  Tell Rossini. 

Aria,  Miss  Dolby,  "  Ah  rendimi  quel  cor." Francisco  Rossi. 

Duo,  (Violoncello  e  Contrabasso,)  Signori  Piatti  e  Bottesini,  on 

airs  from  Puritani Bottesin  i. 

Scena,  Mr.  Sims  Reeves,  "Torn  is  the  veil."     Fridolin F.  Mori. 

.  Madame  Viardot  e  Coro,  "  Chi  mai  dell'  Erebeo."  Orfeo (J  luck. 

Duo,  Madame  Castellan  e  Herr  Formes,  "  Nella  Notte."  Hugue- 
nots  Meyerbeer. 

Aria,  Signor  Tamberlik  e  Coro,  "Re  del  Ciel."      Prophcte J/<  < 

Aria,  Mdlle.  Bertraudi,  •'  Mi  tradi."     Don  Juan Mozart. 

Grand  Finale,  Signori  Tamberlik,  Polinini,  Herr   Formes  e 

Coro.     "  Gugliemo  sol  per  te."     Guillaume  Tell Rossini. 

The  symphony  over,  Miss  M.  Williams  sang,  most  simply 
and  chastely,  a  very  classical  song  by  Winter ;  and  this  was 
followed  by  the  huraorous  duet  from  Don  Pasquale,  by  Castel- 
lan  and  Belletti.  This  was  one  of  the  most  finished  perform- 
ances of  the  concert.  Madame  Clara  Novello  was  encored  in 
the  succeeding  song  by  Bellini;  she  answered  with  a  courtesy, 
graceful  and  winning,  giving  way  to  Mendelssohn's  concerto  for 
the  pianoforte  which  followed,  and  which  was  well  played  by 
Herr  Kuhe,  though  we  think  we  haw  heard  a  firmer,  clearer 


228  BIRMINGHAM   FESTIVAL. 

touch.  Garcia  now  sang  "  Ah !  mon  fils,"  from  Meyerbeer's 
"Prophete;"  some  parts  of  which  were  delivered  with  a  plaintive 
tenderness  that  failed  not  to  touch  the  heart.  Garcia  always 
touches  the  heart ;  she  does  not  astonish  one,  or  make  one  laugh, 
but  she  pierces  the  soul,  and  tears  answer.  "  Com'  e  gentil " 
(Don  Pasquale)  by  Mr.  Sims  Eeeves,  received  an  enthusiastic 
encore.  Castellan  was  brilliant  in  the  song  from  "  L'Elisir 
d'Amore,"  into  which  she  threw  much  life  and  playfulness. 

The  great  attraction  of  this  concert  was  a  part  of  the  unfin- 
ished posthumous  opera  by  Mendelssohn,  "Lorely,"  or  the 
"  Spirit  of  the  Rhine,"  which  was  now  performed  for  the  first 
time.  It  consists  of  a  grand  scene  for  soprano  and  chorus.  All 
we  know  of  the  story  is  that  the  heroine  of  the  opera,  having 
been  forsaken  by  her  lover,  seeks  for  aid  or  redress  from  the 
spirits  of  the  Rhine.  They  bestow  upon  her  irresistible  charms, 
and  a  voice  capable  of  inspiring  deepest  love,  by  which  she  is 
determined  to  be  revenged  on  man.  She  then  weds  the  river, 
to  which  she  devotes  herself,  and  promises  she  will  dwell  in  its 
waters  forever.  Most  Mendelssohnian  is  the  music,  especially 
the  opening  chorus  in  E  minor  and  A  minor.  No  one  will 
doubt  its  authenticity.  But  notwithstanding  its  author's  im- 
press is  so  clearly  stamped  upon  it,  there  is  a  vein  of  originality 
running  through  it,  an  originality,  too,  that  seems  not  to  have 
been  studied  or  far-fetched,  but  which  flows  in  a  natural  and 
easy  manner ;  showing  that  all  that  is  natural  and  melodious  in 
music  has  not  yet  been  exhausted.  Madame  Clara  Novello 
sustained  her  part  well,  and  the  chorus  and  the  orchestra  exerted 
themselves  to  the  utmost.  The  music  gave  great  satisfaction, 
and  was  received  with  loud  and  continued  expressions  of  delight. 

The  second  part  of  the  concert  was  opened  by  the  overture 
to  "  Der  Freyschiitz,"  which  was  loudly  encored,  a  deserved 
compliment,  for  it  was  done  to  perfection.     Mademoiselle  Anna 


BIRMINGHAM   FESTIVAL.  229 

Zerr  sang  from  u  II  Flauto  Magico,"  the  very  difficult  Aria  "  Gli 
angni  d'inferno,"  in  which  she  went  up,  clear  and  certain  as  a 
olet,  to  F.  An  encore  followed,  and  she  sang  it  again, 
even  better  than  at  first  Mr.  Lockey,  who  is  a  real  tenor,  soft 
and  gentle,  sang  "O  beauteous  daughter,"  followed  by  the 
splendid  trio  in  William  Tell,  by  Tamberlik,  Belletti,  and 
Formes.  Now  came  the  ever  interesting  alto  voice  of  Miss 
Dolby,  in  a  quaint  old  air  of  1680 ;  after  which  came  a  duet  by 
violoncello  and  double  bass,  reminding  us  of  Lindley  and  Drag- 
onetti.  The  performers  were  Piatti,  the  best  violoncellist  we 
have  ever  heard,  and  Bottesini,  who  excels  every  one  else  on 
the  double  bass.  The  scene  from  Orfeo,  by  Gluck,  was  full  of 
deep  pathos.  It  was  charmingly  done  by  Madame  Viardot 
Garcia,  who  was  well  sustained  by  the  chorus.  It  was  past 
eleven  o'clock;  the  people  were  fatigued,  having  listened  to 
piece  after  piece  of  beautiful  music,  admirably  performed,  until 
they  could  give  attention  no  longer ;  and  during  the  remaining 
four  pieces,  one  and  another  was  going  out,  until  there  were 
but  few  left.  We  pitied  Mdlle.  Bertrandi,  pretty  little  lady, 
and  felt  sorry  that  she  must  sing  her  song  so  finely  to  empty 
seats ;  but  it  could  not  be  helped.  The  concert  was  too  long, 
quite  too  long,  for  it  was  after  midnight  before  it  closed.  The 
amount  received  for  this  concert  was  upwards  of  four  thousand 

AND  THREE  HUNDRED  DOLLARS. 

Thursday  Morning — The  "Messiah."' — This  was  the  grand 
day — the  climax  of  the  Festival.  This  morning  the  musical 
thermometer  was  at  its  highest  point ;  musical  stock  was  in 
great  demand  and  brought  a  high  premium.  The  tickets  had 
all  been  taken  up,  and  now  a  standing  place  was  sought  for,  at 
a  guinea,  in  vain.  There  is  an  astonishing  rage  for  the  Meuiak^ 
in  England  ;  it  is  always  the  great  attraction  at  these  Festivals, 


230  BIRMINGHAM  FESTIVAL. 

Every  place  was  occupied,  and  such  a  dazzling  array  of  beauty 
and  fashion  one  cannot  often  behold.  It  may  interest  some  to 
know,  that  at  the  morning  concerts  the  ladies  all  wore  light  silk 
bonnets,  small,  only  covering  the  head,  not  the  face  ;  the  greater 
number  of  these  were  white,  but  there  was  also  every  possible 
shade  of  yellow,  pink,  blue,  &c,  &c,  &c.  At  the  evening  con- 
certs, of  course,  no  bonnets  were  worn,  but  every  one  was  in 
full  dress.  On  this  day,  there  was  a  more  rich  and  brilliant 
scene  presented  than  at  any  other  performance,  since  every 
available  corner  of  the  house  was  occupied. 

At  a  quarter  past  eleven,  the  great  organ,  as  if  inspired,  not 
so  much  by  the  brilliant  auditory,  as  by  the  lofty  subject  of  the 
oratorio,  poured  forth  one  mighty  rush  of  sounds,  filling  the 
imagination  with  ideas  of  greatness  and  wonder.  Mr.  Stimp- 
son,  the  organist,  did  his  best,  but  yet  he  did  nothing  more  than 
to  give  out  the  minor  chord  of  D  and  its  relatives.  The  object 
of  this  was  threefold :  it  announced  the  pitch,  covp-'*d  orchestral 
tunings,  and  filled' the  mind  with  thoughts  of  the  sublime. 

Mr.  Costa  was  a  few  minutes  behind  his  time,  but  as  soon  as 
he  took  his  place,  the  overture,  in  its  commencing  chords,  was 
heard.  It  was  most  admirably  played.  Think  of  the  fugue 
led  off  by  twenty-six  violins,  and  answered  by  as  many  more ; 
think  of  the  roar  of  thirty-six  violoncellos  and  double  basses, 
and  the  coming  in  of  the  other  instruments ;  imagine  every 
point  to  be  taken  up  with  the  most  perfect  accuracy,  and  the 
subject  carried  on  without  the  slightest  wavering  or  doubtful- 
ness !  It  was  a  fugue  indeed.  We  have  (we  are  ashamed  to 
confess  it)  sometimes  thought  the  overture  unworthy  of  the 
oratorio,  but  it  was  because  we  knew  it  not.  How  often  is  a 
fine  tune  (in  psalmody)  in  like  manner,  thought  to  be  indiffer- 
ent, merely  because  we  have  not  the  knowledge  or  the  taste 
requisite  to  perceive  its  excellence.     Many  persons  prefer  Cor- 


BIRMINGHAM   FESTIVAL.  231 

onation  to  St.  Ann's,  or  anything  that  is  soft  and  pretty  to  the 
noble  strains  of  the  01 J  Hundredth  or  Windsor. 

Mr.  Sim-  \l  ■  the  opening  recitative  and  air.  Com- 

0  my  people,  Arc.  lie  did  it  with  great  care,  and  applied 
his  most  excellent  voice  to  the  music  in  fine  taste,     We  have 

before  heard  it  so  well  sung.     It  seemed  to  satisfy 
the  old  Brahamites,  some  of  whom  were  near  ns.     The  word 
God — the   last  of  the  recitative — was  uttered  with  wonderful 

r  and  propriety.  The  vocalization  in  the  song  was  also 
clear  and  distinct.  At  the  close  of  the  song,  the  chorus.  And 
the  ylory  of  the  Lord  shall  be  revealed,  came  forth  with  such 
truth  and  power  as  to  confirm  one's  faith  and  nerve  for  action. 
After  Jenny  Land  had  been  introduced  to  Daniel  Webster,  she 

orted  to  have  said.  "I  have  seen  a  man;"*  and  so.  after 

one  has  heard  a  chorus  by  Handel  rightly  interpreted,  he  may 

I   have  heard  a  chorus."     Haydn.   Mozart.  Beethoven. 

and  Mendelssohn  have  written  choruses,  but  Handel's  are  cho- 

And  now  Miss  Dolby  rose  and  delivered  the  recitative. 

with  the  Lord  of  Hosts,  in  perfection;  she  sang  the  word 
come  at  the  close  of  the  first  recitative,  with  very  fine  effect,  an 
octave  lower  than  it  is  written.  F : — a  dangerous  experiment, 
but  her  splendid  voice  justified  it.  The  following  song,  But 
who  shall  ,  she  also   sang  in  a  most  satisfactory  manner. 

And  thus  has  Handel  been  change*],  and  the  alteration  ia  imi- 

lly  approved.  The  recitative  and  song  now  sung  by  an 
alto,  v  ally  written  for  a  bass  voice.     Miss  Dolbj 

as  if  she  had  a  proper  idea  of  what  she  was  doi 

re  of  remarkable  force:  for  example.  t\.  !;ergy 

with  which  she  uttered.  For  he  is  like  «   rtfiner'i  jire.  and  the 
most  beautiful   diminish  on  the  words,    When  hi  appear 

Her  wh  .ranee,  too.  while  aingin] 

emn  and  dignified.     We  were  sorry  this  solemnity  of  deport- 


232  BIRMINGHAM  FESTIVAL. 

ment  was  not  carried  out  by  all  the  solo  singers,  when  not  en- 
gaged in  singing.  The  whispering  between  them  did  not  look 
well ;  it  was  neither  treating  the  audience,  their  own  assumed 
Characters  in  the  oratorio,  nor  the  subject  itself  with  proper 
respect. 

Solo  singers,  on  such  an  occasion,  should,  in  every  look  and 
action,  do  honor  to  their  office,  which  should  be  regarded  as  sa- 
cred as  is  that  of  him  who  ministers  at  the  altar  of  religion. 

The  following  charming  chorus  in  G  minor  was  given  as  it 
deserved  :  And  he  shall  purify  the  sons  of  Levi,  that  they  may 
offer  unto  the  Lord  an  offering  of  righteousness.  Miss  M.  Wil- 
liams spoke  the  recitative,  Behold!  a  virgin  shall  conceive,  &c, 
as  if  she  was  making  the  declaration  in  the  name  of  the  Lord ; 
and  then,  assuming  a  gentle  smile  indicating  joy,  gladness,  and 
confidence,  both  countenance  and  voice  most  appropriately 
adapted  themselves  to  the  air,  0  thou  that  tellest  good  tidings 
to  Zion.  All  was  perfectly  natural  and  easy ;  it  was  as  if  she 
really  meant  so,  and  was  only  speaking  forth  the  heart.  Her 
whole  manner  (as  well  as  that  of  the  other  solo  singers)  indi- 
cated intellectual  cultivation,  without  which,  whatever  vocal 
talent  one  may  possess,  and  however  long  one  may  study,  suc- 
cess is  impossible.  We  can  hardly  attach  too  much  import- 
ance to  this  point :  many  parents  and  others  seem  to  think  that 
a  knowledge  of  music  is  all  that  is  necessary  to  success,  espe- 
cially in  one  who  has  a  fine  voice,  or  who  manifests  a  strong 
love  for  the  art.  Now,  nothing  can  be  more  certain,  than  that 
a  good  musical  education  can  only  be  acquired  in  connection 
with  general  cultivation.  A  person  who  is  not  tasteful  in  dress, 
for  example,  never  can  make  a  really  good  singer.  And  the 
same  may  be  said  of  manner  generally.  One  whose  walk  is 
awkward,  whose  movements  are  clumsy,  whose  bow  or  cour- 
tesy is  ungraceful,  whose  gesticulation  is  untoward,  or  whose 


BIRMINGHAM    FESTIVAL. 

speech  is  inelegant,  can  neither  sing  nor  play  well ;  for  musical 
taste  cannot  be  developed  in  any  considerable  degree,  except  in 
connection  with  general  improvement  of  mind  and  manners. 
We  wish  we  oould  say  more  on  this  point,  and  also,  in  connec- 
tion, speak  of  the  indispensable  necessity  of  intellectual  improve- 
ment in  those  who  would  become  singers,  teachers  of  music,  or 
teachers  of  anything  else  ;  but  this  is  not  the  place.  Miss  Wil- 
liams made  a  grand  point  on  the  word  Lord,  to  the  tone  C  na- 
tural ;  the  chorus  which  followed,  on  the  same  subject,  was  as 
good  as  the  previous  song. 

But  now  comes  Herr  Formes  ; — For,  behold,  darkness  shall 
cover  the  earth,  and  gross  darkness  the  people,  &c.  How  delib- 
erate !  How  subdued  !  How  distinct  in  utterance !  The  mouth 
is  opened  so  that  both  tones  and  words  flow  freely.  The  very 
heart  u  runneth  out  at  the  mouth !"  Aye,  that  is  the  secret  of 
his  success.  Again,  let  it  be  repeated,  for  some  one  may  read 
this  who  may  hereafter  sing  the  same  thing,  nothing  was  hur- 
ried ;  sufficient  time  was  taken  to  utter  every  word,  and  for 
every  sentiment  to  sink  into  the  heart  of  the  hearer.  It  was  a 
good  direction  that  Mr.  Eliot  used  to  give  when  he  was  Presi- 
dent of  the  Boston  Academy  of  Music:  "Take  sufficient  time 
for  the  words."  "  But,  sir,  it  is  marked  allegro  /"  "  No  mat- 
ter what  it  is  marked,  be  it  allegro  or  presto,  it  is  a  plain  matter 
of  common-sense,  that  in  vocal  music  time  must  be  taken  to 
give  appropriate  utterance  to  the  words."  Common-sense  di- 
rections are  often  better  than  technical  directions ;  or  rather, 
perhaps,  a  tittle  common-sense  is  necessary  to  enable  one  rightly 
to  apply  the  technicals.  But  the  Lord  shall  arise  upon  thee;  here 
the  crescendo  is  applied  with  great  efiect ;  so.  also, on  the  words 
His  glory.  A  grand  climax  was  made  on  the  word  "  K; 
The  accompaniment — it  was  so  soft — was  only  the  surrounding 
atmosphere  aided  by  the  violins,  and  breathing  out  sympathy 


234  BIRMINGHAM   FESTIVAL. 

to  the  great  subject  of  song.  The  people  that  walked  in  dark- 
ness have  seen  a  great  light,  followed  in  a  length  and  breadth 
both  of  conception  and  execution  truly  grand.  For  unto  us  a 
child  is  bom,  was  sung  with  an  extraordinary  degree  of  excel- 
lence technically  considered.  It  commenced  pianissimo,  abso- 
lutely so ;  and  both  voices  and  instruments  were  kept  down  to 
this  softest  degree  of  power,  until  the  violin  passages  leading  to 
the  word  i;  wonderful,''  and  then  in  an  instant  came  fortissimo. 
The  contrast  was  very  great ;  and  this  was  repeated  in  the  sub- 
sequent parts  of  the  chorus.  Considered  as  a  mere  musical 
exploit,  it  was  most  successful ;  but  it  seemed  to  us  to  be  ob- 
tained at  a  sacrifice  of  the  subject  of  the  song.  The  sentiment 
requires  no  such  sudden  transition  from  soft  to  loud  ;  and  the 
gentle  crescendo  applied  so  as  to  lead  gradually  to  the  "  won- 
derful" is,  we  think,  in  much  better  taste.  The  chorus  was 
finely  brought  out  as  it  proceeded,  presenting  the  sublime  sub- 
ject with  amazing  power,  and  calling  up  the  response  in  the 
heart,  "  Even  so,  ride  forth,  mighty  conqueror,  until  the  enemy 
is  destroyed,  and  the  whole  world  is  brought  under  the  domin- 
ion of  the  Prince  of  Peace."  During  the  singing  of  this  chorus 
the  people  stood.  The  Pastoral  Symphony  followed,  softly  and 
gently;  in  close  legato  tones  it  flowed  along,  seeming  to  antici- 
pate Peace  on  earth  and  good  will  to  men.  Madame  Clara  Xo- 
vello  delivered  the  succeeding  recitatives  as  well  as  it  is  possi- 
ble for  them  to  be  done ;  so  perfectly  pure  is  her  voice,  that  one 
would  suppose  it  must  come  from  an  angel  indeed.  She  pro- 
duced a  thrilling  effect  on  the  words,  And  they  were  sore  afraid. 
Joy  was  characteristic  of  the  recitative,  And  Angels  said  unto 
them,  Fear  not,  &c,  and  this  arose  to  triumph  as  she  came  to 
the  words,  Christ  the  Lord.  She  dwelt  very  long  upon,  and 
thus  made  very  emphatic,  the  word  ':  Christ."  Coming  within 
the  compass  of  her  best  and  most  powerful  tones,  the  effect  was 


BIRMINGHAM   FESTIVAL.  235 

most  magnificent.  As  the  chorus,  Glory  to  God  in  the  highest, 
was  commenced,  the  people  rose  and  remained  standing  as  in 
For  unto  us. 

We  were  sorry  to  see  some  of  the  solo  singers  leave  their 
places  and  retire  from  the  Hall  at  this  point.     It  seemed  to  say 

ire  mere  players  or  performers,  having  no  more  hit 
in  the  subject  than  to  do  our  part."  The  incongruity  wu  a 
little  more  apparent  from  the  circumstance  of  the  rising  of  the 
vast  assembly  at  the  utterance  of  the  words,  Glory  to  God 
For  appearance's  sake,  if  from  no  better  motive,  every  singer 
should  remain  in  his  place  throughout  the  performance.  The 
song.  Rejoice  greatly,  was  sung  by  Madame  Clara  Xovello ;  and 
Miss  M.  Williams  followed  in  the  recitative,  Then  shall  the 
eyes  of  the  blind  be  opened.  An  attempt  at  expression  was  made 
on  the  words  the  dumb  shall  sing,  which  we  could  not  approve. 
The  words  u  the  dumb''  were  sung  in  a  very  subdued  manner, 
as  if  to  describe  dumbness,  and  the  contrast  in  passing  to  the 
words  "shall  sing"  (Forte)  was  great.  Such  attempts  to  paint 
words  are.  almost  always,  puerile.  Sentiments  may  be  ex- 
pressed or  colored,  by  musical  tones,  but  not  single  words.  He 
shall  feed  his  flock  (key  of  F)  was  most  charmingly  sung  by  the 
same  artist ;  and  the  close  was  touching  in  the  highest  degree. 
Madame  Clara  Xovello,  in  Come  unto  him  (B  flat)  was  equally 
good,  that  is,  perfect.  She  took  die  liberty  to  raise  her  voice 
from  F  to  B  flat  on  the  latter  part  of  the  word  "  rest,"  with  a 
pause  jn>t  before  the  final  cadence,  with  good  effect  Her 
voice  is  so  perfectly  el  ear  on  the  tone  B  flat,  that  one  could 
hardly  believe  it  to  be  a  material  organ.  The  chorus  His  yoke 
uy — and  then  an  interval  of  twenty  minuti 

Part  II. — Listen  to  the  organ  ;  again  those  minor  chords, 
(slowly  changing.)  speak  adoration,  penitence,  joy,  love,  grati- 
tude ;  they  fill  the  soul  with  a  delight  which  can  only  be  e\j 


236  BIRMINGHAM  FESTIVAL. 

by  musical  tones.  Behold  the  Lamb  of  God  that  taketh  away  the 
sin  of  the  world ;  most  vividly  is  he  brought  up  to  the  mind,  by 
the  legitimate  application  or  reception  of  Handel's  music.  Miss 
Dolby's  "  He  was  despised,"  was  not  susceptible  of  improve- 
ment ;  the  last  words,  "  with  grief"  were  uttered  with  great 
tenderness.  The  chorus,  Surely  he  hath  borne  our  griefs,  was 
taken  in  quicker  time  than  it  ought  to  have  been ;  and  the  mu- 
sic, apart  from  the  words,  seemed  too  much  to  express  the  aet 
of  inflicting  stripes,  of  wounding  or  bruising,  or  chastising ;  but 
in  the  second  movement,  the  idea  of  healing,  or  of  deliverance, 
was  well  expressed.  All  we  like  sheep,  was  hurried,  yet  not 
more  so  than  a  flock  of  sheep  when  they  run  away  in  a  fright, 
if  that  was  the  idea  intended ;  but  deliverance  from  this  unhap- 
py adaptation  came  at  the  passage,  The  Lord  hath  laid  on 
him  the  iniquity  of  us  all.  Recitative,  All  they  that  see  him,  by 
Mr.  Lockey,  was  followed  by  one  of  the  finest  choruses  in  the 
oratorio,  musically  considered,  in  C  minor.  He  trusted  in 
God  that  He  would  deliver  Him — it  was  sung  slowly  and  with 
great  firmness.  Mr.  Lockey,  with  his  fine  voice  and  perfect  un- 
derstanding of  Handel,  sang  Thy  rebuke  hath  broken  his  heart, 
and  the  air,  Behold  and  see  if  there  be  any  sorrow  like  unto  his 
sorrow.  Hie  following  recitative  and  song  were  by  Castellan  ; 
she  really  did  them  well ;  though  quite  out  of  her  appropriate 
sphere.  Lift  up  your  heads  went  admirably  ;  if  we  except  the 
hissing  sibilants,  in  the  words  heads  and  gates ;  on  which,  ac- 
cording to  the  requirements  of  the  rests,  the  vocal  sound  was 
cut  off,  but  the  hissing  was  continued.  This  is  a  common  fault 
on  both  shores  of  the  Atlantic.  Mr.  Lockey  sang,  Unto  which 
of  the  angels  said  He  at  any  time,  and  the  chorus  followed  with 
great  spirit,  Let  all  the  Angels  of  God  worship  Him.  Thou  art 
gone  "upon  high  was  omitted  ;  and  the  chorus,  The  Son  gave  the 
word,  followed  in  a  slower  time  than  we  have  often  heard  it 


BIRMINGHAM    FESTIVAL.  237 

sung;  yet  not  too  slow.  How  beautiful  are  the  feet,  <£r..  by 
Madame  (  astellan,  and  the  admirable  chorus,  Their  sound  is 
gone  out,  were  well  done.  The  bass  air,  Why  do  the  nations, 
by  Mr.  Weiss,  was  not  very  effective.  Belletti  sang  it  in 
America ;  he  did  the  vocalizing  passages  with  the  neatness  of  a 
bassoon,  but  the  style  of  the  song  is  not  adapted  to  his  powers. 
I  have  heard  our  own  Air.  Root  sing  it  in  better  keeping,  per- 
haps, than  any  one  else.  Signor  Tamberlik,  took  the  Recitative 
and  song,  Thou  shalt  break  them  with  a  rod  of  iron.  We  heard 
his  performance  of  it  extolled,  but,  notwithstanding  his  magnifi- 
cent voice,  we  would  almost  prefer  to  hear  this  air  played  upon 
a  flute.  It  was  minus  almost  all  appropriate  expression — or  at 
least,  so  we  thought.  We  need  not  say  that  "  The  Hallelujah 
Chorus"  was  held  up  in  a  most  perfect  light,  and  seen  and  felt 
of  every  man.  At  its  close,  the  President  gave  a  signal  for  its 
repetition,  which  was  immediately  answered.  The  people 
stood  during  the  performance  of  this  chorus. 

An  interval  of  five  minutes,  and  Madame  Clara  Novello  sang 
/  know  that  my  Redeemer  Uveth.  She  did  it  well ;  but  it  did 
not  come  up  to  our  beau  ideal  of  this  greatest  song  of  the 
Messiah.  Since  by  death,  was  by  four  voices,  and  By  man 
came  also  the  resurrection  of  the  dead,  by  full  chorus  ;  the  next 
two  movements  were  treated  in  the  same  way.  Ilerr  Formes 
delivered  the  recitative,  Behold  I  tell  you  a  mystery,  in  a  most 
masterly  manner.  u  I  never  knew  what  recitative  was,"  said 
an  American  gentleman  to  me,  "  until  I  heard  Ilerr  Formes  ;" 
it  is  indeed  most  powerful  declamation  in  his  hands.  The  fol- 
lowing song  was  finely  given;  but  the  trumpet  was  so  finely 
played,  with  soft  and  pure  tones,  and  perfect  intonation,  as  to 
draw  one's  attention.  The  whole  song  was  most  charmingly 
accompanied  by  die  younger  Harper.  Hie  several  movements 
between  this  and  the  final  chorus  were  omitted,  and  the  oratorio 


238  BIRMINGHAM   FESTIVAL. 

closed  with,  "  worthy  is  the  lamb  that  was  slain,  and  hath 
redeemed  us  to  god  by  his  blood,  to  receive  power,  and 
riches,  and  wisdom,  and  strength,  and  honor,  and  glory,  and 
blessing.  Blessing  and  honor,  glory  and  power,  be  unto 
him  that  sitteth  upon  the  throne,  and  unto  the  lamb  for- 
EVER and  ever,  amen."  And  \vhat  shall  we  say  of  the  Amen! 
words  fail ;  it  is  utterly  impossible  to  give  anything  like  a  cor- 
rect idea  of  the  wonderful  manner  in  which  this  great  chorus 
was  brought  out.  It  was  the  grand  climax;  unfettered  by 
words,  Handel  soars  into  the  spiritual  regions  of  pure  emotion 
and  seems  to  carry  one  far  beyond  the  reach  of  all  sublunary 
existence.  We  say  Handel  soars,  yet  we  do  not  believe  Han- 
del himself  had  any  adequate  conception  of  the  mighty  power 
there  was  in  this,  and  in  some  of  his  other  choruses.  He  no 
more  dreamt  of  the  wonderful  effects  those  choruses  would  pro- 
duce in  the  course  of  the  progress  of  music  in  after  ages,  than 
did  Dr.  Franklin  of  the  results  of  his  experiments  with  his  kite 
in  the  thunder  and  lightning ;  and  the  latter  would  not  be  more 
surprised  at  the  telegraphic  communication  of  these  latter  days, 
than  would  Handel  at  the  effects  of  his  music  at  the  Birming- 
ham festival.  Where  the  great  Apostle  once  was,  not  being 
able  to  tell  whether  in  the  body  or  out  of  the  body,  there  this 
wonderful  music  takes  us,  and  there  we  are  left,  until  awaken- 
ing from  the  reverie,  we  look  around  upon  gay  colors  and 
charming  faces,  hear  the  rustling  of  silken  dresses,  and  the  hum 
of  gentle  voices,  and  find  that  we  are  still  members  of  the  hu- 
man family,  and  inhabitants  of  the  planet  called  Earth. 

There  is  an  astonishing  rage  for  the  Messiah  in  England  ;  it 
is  always  the  great  attraction  at  these  festivals.  It  is  beginning 
to  become  popular  in  America.  We  remember  that  a  few 
years  ago,  a  large  Choral  Society  in  an  American  city,  came  to 
us  to  ask  advice  as  to  what  music  they  should  procure.     As 


BIRMINGHAM    FESTIVAL.  289 

they  had  not  got  the  Messiah,  we  recommended  it ;  but  our  re- 
commendation was  mel  by  the  objection,  "it  is  too  old-fashion- 
ed, it  is  out  of  date;"  and,  if  we  remember  rightly,  Haydn's 

v  was  taken  ;  and  BO  they  chose  a  shilling-piece  when 
they  might  have  had  a  gold  sovereign.  A  few  years  after, 
they  repented,  took  the  Messiah,  and  hereafter  it  will  be  their 
most  valuable  oratorio.  Whatever  may  be  the  reason,  the  fact 
is  certain,  that  in  England  the  Messiah  is  vastly  more  popular 
than  any  other  oratorio.  The  best  judges  of  music,  professors 
and  amateurs,  the  learned  and  the  unlearned,  the  noble  and  the 
ignoble,  the  great  and  the  little,  those  who  ride  in  proud  car- 
riages with  servants  liveried  with  buff  and  scarlet,  and  those 
who  walk  through  the  rain  with  a  cotton  umbrella,  the  old  and 
grave,  and  the  young  and  gay,  those  who  love  music,  and  those 
who  do  not  know  whether  they  have  any  love  for  it  or  not ; — 
all  do  homage  to  this  mighty  production  of  Handel.  Handel 
is  the  Shakspeare  of  music ;  there  has  never  been  but  (jne  Han- 
del, and  it  is  not  at  all  probable  that  there  will  ever  be  another. 
Handel  has  written  but  one  Messiah,  nor  could  he,  had  he  lived 
until  this  time,  have  written  another.  He  might  have  improv- 
ed upon  this,  but  another  of  equal  merit,  he  could  not  have 
produced.  This  oratorio  has  been  heard  for  a  century,  and  it 
is  as  fresh  and  new  now  as  ever  ;  indeed  the  more  it  is  heard 
■  tter  it  is  apprectated.  This  oratorio,  too,  has  done  much 
for  charity ;  it  has  succored  the  orphan,  comforted  the  widow, 
and  relieved  the  distressed.  We  think,  indeed,  that  men  should 
be  willing,  even  without  the  luxury  of  an  oratorio,  or  the  Lr ay- 
ety  of  a  ball,  to  give  their  goods  to  feed  the  poor ;  and  it  is 
truly  an  expensive  charity  when  one  must  give  jive  pounds  to 
get  one  into  the  poor  box;  but  even  in  thi  must  not 

Suppose  tin-  four  pounds  to  be  thrown  away  :  by  no  means,  it 
encourages  art  and  artiste;  and  the  festivals  of  Kngland  do  a 


240  BIRMINGHAM  FESTIVAL. 

great  work  for  the  improvement  and  encouragement  of  musical 
knowledge  and  taste.  In  America,  we  need  a  less  expensive 
music  for  the  people,  as  in  Germany ;  but  here,  where  there  is 
so  much  wealth,  let  the  rich  give  of  their  abundance,  bring  to- 
gether such  an  array  of  talent  as  can  nowhere  else  on  earth  be 
collected,  and  let  the  results  tell  at  once  to  the  improvement  of 
music,  and  to  the  relief  of  the  distressed.  But  for  the  Birming- 
ham Festival,  the  Elijah  of  Mendelssohn  would  not  have  been 
written ;  and  Handel's  Messiah  has  turned  hundreds  of  thou- 
sands from  the  coffers  of  the  opulent  to  the  succor  of  the  hun- 
gry and  perishing. 

The  amount  received  at  the  performance  of  the  Messiah,  this 
morning,  was  somewhat  more  than  thirteen  thousand  and 

FIVE  HUNDRED  DOLLARS. 

Thursday  Evening — Beethoven's  9th. — At  half-past  seven 
the  hous|  was  again  filled.  The  concert  was  a  very  attractive 
one,  and  especially  so  because  the  Grand  Choral  Symphony  con- 
stituted the  first  part.  Solo  parts  by  Madame  Clara  Novello, 
Miss  M.  Williams,  Mr.  Sims  Reeves  and  Mr.  Weiss ;  chorus 
by  the  whole  choir.  We  had  never  heard  this  greatest  work  of 
Beethoven,  having  unfortunately  missed  it  in  several  places  in 
Germany.  From  its  great  reputation,  we  were  more  anxious 
to  hear  this  than  any  other  piece  announced  for  the  festival. 
The  orchestra  was  in  perfect  order ;  all  its  members  were  in 
their  places,  and  were  fully  awake  to  the  task  that  was  before 
them.  Costa  was  received  with  more  than  an  ordinary  wel- 
come; a  little  anxiety  upon  his  brow  was  apparent.  He 
looked  around ;  every  eye  was  fixed  upon  the  baton ; — it 
moved — and  the  revelations  of  Beethoven  were  being  made 
known  to  an  eager  and  closely-attentive  multitude  of  listeners. 

We  are  entirely  incompetent  to  give  any  description  of  this 


BIRMINGHAM   FESTIVAL.  241 

composition  \— first,  because  we  do  not  know  it,  and  secondly, 
because  we  have  not  sufficient  musical  knowledge  to  do  it. 
Suffice  it  to  say.  that  whatever  can  be  suggested  to  an  awakened 
imagination,  by  the  whole  range  of  sounds  which  the  vibrating 
atmosphere  is  capable  of  producing,  or  man's  perceptive  powers 
are  capable  of  appreciating,  is  here  brought  to  view,  portrayed, 
delineated,  exhibited,  expressed.  Handel  has  done  nothing  like 
this ;  great  and  unapproachable  as  he  is,  here  is  something  in 
the  world  of  sounds  that  is  far  in  advance  of  anything  that  he 
has  left  recorded.  We  believe  Handel  to  have  been  as  great  a 
genius  as  Beethoven  ;  but  it  was  reserved  for  Beethoven  to  go 
down  into  the  deep,  and  explore  more  thoroughly  the  works  of 
the  Infinite,  in  tkis  department.  God  is  not  yet  fully  known  in 
his  works ;  yet  science  is  gradually  revealing  him  ;  and  in  the 
kingdom  of  sounds,  as  well  as  in  that  of  plants,  and  minerals, 
living  things,  and  in  surrounding  worlds,  he  is  manifesting  him- 
self in  the  researches  and  investigations  of  him  whom  he  made 
in  his  own  image.  Beethoven  is  the  great  modern  revealer  of 
truth,  as  it  exists  in  the  region  of  sounds.  He  has  extended  the 
boundaries  of  science ;  and  from  the  combinations  and  their 
successions,  he  has  given  to  the  world  new  views  as  to  the 
variety  and  power  of  tones ;  so  that  modern  musical  science 
now  rests  essentially  upon  his  works.  We  do  not  mean  to  ex- 
clude the  Bachs,  Mozarts,  or  even  Mendelssohns,  from  the  hon- 
ored catalogue ;  but  we  only  speak  of  Beethoven  in  this  con- 
nection, and  in  this  point  of  view,  as  him  who  stands  pre-emi- 
nently great.  A  gentleman  near  to  us,  a  learned  musician,  and 
a  distinguished  writer  on  music,  who  spoke  to  us  of  the  first 
production  of  the  Choral  Symphony  in  England,  said  :  M  It  was 
long  before  it  could  be  understood  or  appreciated,  and  even  now 
there  are  parts  of  it  which  are  not  understood."  True,  indeed; 
neither  are  the  sun  and  the  moon  and  the  stars  understood ;  but 

11 


242  BIRMINGHAM  FESTIVAL. 

they  shed  down  upon  us  their  light  and  heat,  and  give  life  and 
bliss.  Our  own  frame,  how  little  it  is  understood,  but  yet  it 
answers  our  purpose.  Electricity  is  not  understood,  and  proba- 
bly never  will  be ;  yet  something  of  it  has  been  revealed  by 
modern  investigations,  and  we  are  beginning  to  know  some  of 
the  laws  by  which  it  may  be  made  subservient  to  him  who  is 
Lord  of  all  below.  Who  understands  the  ocean,  a  tempest,  or 
the  everlasting  hills  ?  yet  these  things  have  great  moral  power 
over  man,  and  may  be  made  to  minister  to  his  happiness. 
Who  comprehends  immensity  and  eternity  %  But  does  it  fol- 
low that,  therefore,  these  may  not  fill  the  mind  with  aspirations 
after  the  Infinite,  the  source  of  all  perfection  and  happiness  ? 
We  may  not  understand,  and  yet  may  derive  great  pleasure 
and  good  from  the  musical  forms  of  truth,  which  Beethoven  or 
others  have  discovered.  If  God  can  be  seen  in  his  works; 
if  ideas  of  beauty  and  sublimity  can  bring  up  any  proper  con- 
ceptions to  the  imaginations  of  the  good  and  the  true ;  then 
Beethoven  has,  in  part,  lifted  the  veil ;  but  yet  we  may  not 
fully  understand ;  Beethoven  himself  might  not  have  under- 
stood his  own  productions,  for  even  human  nature  restored, 
purified,  and  raised  to  its  highest  degree  of  intellectual  and 
moral  greatness,  can  only  appreciate  in  'part  the  wonderful 
works  of  its  own  creation. 

The  Choral  Symphony  is  in  a  key  which  has  wrought  won- 
ders in  the  hands  of  many  masters,  viz. :  D  minor.  It  is  divi- 
ded into  three  parts.  The  first  part  comprises  three  move- 
ments, viz.  : 

I. — Allegro  ma  non  troppo,  uix  poco  maestoso. 
II. — Sherzo  molto  vivace. 
IIL — Adagio  molto  e  cantabile. 


BIRMINGHAM   FESTIVAL.  243 

The  third  movement  leads  to  the  second  or  choral  part  of  the 
Symphony,  as  follows : 

I. — Tenor  Recitative — "Companions!  be  wise." 
II. — Solo  and  chorus,  bass — "  Welcome,  ye  who  pine  in  sadness." 
III. — Quartet — "Sweet  content,  our  hope  inviting." 
IV. — Quartet  aud  chorus — "  Oh  !  may  he  whose  soul  is  despairing." 
V. — Tenor  s<>lo,  and  chorus — "  Oh!  thou  bright  firel" 
VI. — Quartet  and  chorus — "Oh!  ye  sons  of  earth!" 

As  we  have  already  intimated,  we  dare  not  attempt  any 
description  of  this  music.  We  repeat,  we  have  heard  it  but 
once ;  but  if  we  may  judge  of  it  by  the  feelings  it  produced  in 
us,  then  it  is  certainly  to  be  classed  with  the  most  powerful  of 
all  musical  compositions.  We  do  not  know  but,  in  years  past 
we  may  have  been  as  much  moved  and  delighted  with  music, 
and  if  so,  it  was  at  the  performance  of  Handel's  Messiah,  in  the 
same  hall  in  1837.  But  this  can  hardly  be  regarded  as  a  proper 
comparison,  since  the  Messiah  is  not  merely  musical,  or  does 
not  rest  so  much  on  musical  power,  but  brings  to  its  aid  the 
wonders  of  man's  redemption,  as  drawn  from  the  divine  word  ; 
it  tells  of  the  birth,  sufferings  and  death  of  the  Saviour,  as  the 
Lamb  of  God  icho  taJceth  away  the  sins  of  the  world  ;  of  the  pro- 
gress and  universal  triumph  of  His  kingdom,  and  of  the  halle- 
lujahs of  the  redeemed.  But  if  we  were  as  much  moved  on  that 
ioil,  and  in  part  certainly  by  music,  we  did  not  suppose  it 
possible  ever  again  to  feel  its  influence  in  so  high  a  degree. 
We  wire  almost  foolish  enough  to  suppose  that  so  far  as  it  re- 
lated to  our  own  experience,  the  powers  of  the  art  had  been  ex- 
hausted. Beethoven's  9th  reproved  us  for  this  folly  and  unbe- 
lief, and  carried  us  away,  we  know  not  whither.  And  not  we 
alone,  for  the  feelings  of  the  whole  audience  were  aroused,  and 
such  an  enthusiam  was  manifested  as  we  had  hardly  seen  be- 


244  BIRMINGHAM   FESTIVAL. 

fore.  But  we  have  said  enough  of  this  great  work,  for  our 
present  purpose.  We  shall  hear  it  ere  long  in  New  York  or 
Boston ;  but  stay  ye,  who  lead  in  these  things,  and  do  not  at- 
tempt it  until  orchestra,  solo,  and  chorus  are  fully  prepared  for 
the  mighty  task  of  its  performance. 

The  second  part  of  the  concert  was  opened  by  the  overture 
to  Zampa,  by  Herold.  What  a  contrast !  Milton  and  Mother 
Goose's  melodies  are  not  more  unlike  !  But  yet  we  do  not  wish 
to  disparage  the  Zampa.  It  is  a  nice,  comfortable,  enlivening, 
cheering,  animating  overture  indeed ;  and  the  people  needed, 
by  way  of  change,  something  which  contained  nothing  :  and  so 
they  gave  them  Zampa.  It  was  received  in  good  faith,  as  it 
was  given,  and  called  forth  shouts  of  applause.  Here  is  the 
programme : 

PART  I. 
Grand  Choral  Symphony  in  D  minor,  solo  parts  by  Mad. 
Clara    Novello,   Miss  M.   Williams,   Mr.   Sims 
Reeves,  and  Mr.  Weiss Beethoven. 

PART  II. 

Overture.     Zampa Herold. 

Aria,  Mad.  Castellan,  "  Ah  !  un  amore."    Faust Spohr. 

Duo,  Mad.  Viardot  Garcia  and  Signor  Belletti,  "  Al  capricci." 

LLtaliani  in  Algeri Rossini. 

Aria,  Herr  Formes,  "  In  diesen  heiligen  Hallen.     It  Flauto 

Magico Mozart. 

Lied,  Mad.  Anna  Zerr,,  "  A  Straussli  will  i." Carl  Haas. 

Duo,  Mad.  Clara  Novello  and  Mr.  Sims  Reeves,  "  Da  quel  di." 

Linda Donizetti. 

Scena,  Signor  Tamberlik,  e  Coro,  "  0  muto  asil.     Guillaume 

Tell Rossi?ii 

Ballad,  Miss  M.  Williams,  "  The  Slave  Girl's  love." Laud. 

Duo,  Mad.  Castellan  e  Miss  Dolby,  "  Serbami  oguor."     Semi- 

rarnide Rossini. 

Scng,  Mr.  Lockey,  "  0,  give  me  back."     Rascal  Bruno Hatton. 


BIRMINGHAM   FESTIVAL.  245 

Madrigal,  Chorus,  "  Down  in  a  flow'ry  vale." C.  Ft  sta. 

Solo,  Contra  Basso,  Signor  Botteaini BotUsini. 

tivi:  and  Aria,  Madame  Viardot  Garcia,  "Ah,  non 

credea  mirarti."     Sonnambula Bellini. 

Duo,  Signori  Tanihorlik  e  Belletti,  "  Marinaro  in  guardia 

sta.''     /  Marlnar't Rossini. 

Aria,  Mad.  Clara  Xovello,  "  Bell   raggio.''     Semiramide Rossini. 

Duo,  Mdlle.  Bertrandi  e  Mr.  Lockey,  "  Bella  niufa."  Jessonda Spohr. 

Recitative  and  Air,  Mr.  Weiss.   "  When  Bacchus  invented 

the  bowl,"  Don   Quixote   IfacFarren. 

Grand  Finale,  Signor  Belletti,  e  Coro,  "Nube  di  sangue  in- 

trisi."'     Assedio  di  Cur  into Rossini 

We  were  so  completely  exhausted  by  the  Symphony,  that 
we  did  not  make  many  notes  of  the  after  performance.  Mad. 
Viardot  Garcia  sang  twice,  and,  of  course,  with  deep  emotion, 
for  she  never  sings  without  this.  Herr  Formes  gave  a  perfect 
rendering  of  the  popular  song  in  Zauberflote,  In  dissen  heiligen 
Halle  n.  <kc.  Mademoiselle  Anna  Zerr  sang  a  song  that  remind- 
ed us  of  Jenny  Lind's  Bird  Song,  though  far  inferior  in  point 
of  execution.  Madame  Clara  Xovello  and  Air.  Sims  Reeves 
sang  most  delightfully  a  duet  by  Donizetti.  Signor  Tamberlik 
sent  a  thrill  through  the  hall  by  the  full,  clear  and  triumphant 
manner  in  which,  in  chest  voice,  he  went  up  to  C,  in  the  scene 
from  William  Tell.  Mis^  M.  Williams  and  Miss  Dolby  sang 
charmingly.  The  old  Madrigal,  said  to  be  the  best  composition 
of  the  kind  in  the  world,  Down  in  a  flowery  vale,  was  cleverly 
done,  without  accompaniment.  Signor  Bottesini's  contra  basso 
was  truly  wonderful. 

It  was  twelve  o'clock  before  the  concert  was  concluded  ;  and 
every  one  was  worn  out,  save,  perhaps,  Costa,  who  seemed  as 
fresh  and  vigorous  as  a  son  of  the  morning. 

The  amount  received  for  this  concert  was  somewhat  more 

than  FIVE  THOUSAND  DOLLARS. 


246  BIRMINGHAM   FESTIVAL. 

Friday  Morning. — "  Samson." — The  following,  from  one  of 
the  books  of  the  Sacred  Harmonic  Society,  sets  forth  the  argu- 
ment of  the  drama : 

PART   I. 

Samson,  blind  and  captive  to  the  Philistines,  being  relieved  from  his 
toil  by  a  festival  in  honor  of  Dagon  their  god,  comes  forth  into  the  open 
air.  The  priests  of  Dagon  sing  in  praise  of  their  idol.  Samson,  bemoan- 
ing his  condition,  is  visited  by  his  friends  and  his  father,  Manoah,  who 
join  in  bewailing  his  degradation.  Samson,  acknowledging  the  justice  of 
his  punishment,  predicts  that  Dagon  will  not  be  allowed  to  triumph  over 
the  God  of  Israel.  Micah  and  his  friends  express  a  hope  that  Samson's 
prediction  may  be  verified.  Samson,  however,  declares  his  hopes  to  be 
gone,  his  nature  declining,  and  his  life  drawing  to  a  close.  Upon  which 
his  friends  recount  to  him  the  joy  and  peace  that  his  spirit  will  realize  in 
the  eternal  world. 

PART    II. 

Micah  and  the  Israelites  call  upon  God  to  have  pity  on  Samson.  Dalila, 
his  wife,  then  appears,  and,  pretending  penitence  and  submission,  entreats 
him  to  go  home  with  her.  He  refuses  to  listen  to  her  entreaties  ;  a  scene 
of  mutual  recrimination  ensues ;  and  they  separate.  His  friends  assert 
the  ordained  subjection  of  the  wife  to  the  husband.  Harapha,  a  giant  *rf 
Gath,  then  approaches,  attracted  by  the  fame  of  Samson's  might,  and 
boasts  how  he  would  have  overcome  him  had  he  encountered  him  before 
his  captivity.  Samson  dares  him  to  a  trial  now,  which  he  refuses,  and  is 
taunted  by  Samson  with  cowardice.  Micah  proposes  as  a  test  of  who  is 
the  Supreme  God,  that  Harapha  should  call  upon  Dagon,  to  try  his  power 
over  Samson.  The  Israelites  prostrate  themselves  before  Jehovah,  and 
supplicate  his  delivering  aid.  Harapha  calls  upon  Dagon,  and  the  wor- 
shippers of  that  idol  appeal  to  him  for  succor  and  protection ;  after  which 
the  Israelites  and  Philistines  jointly,  but  in  opposition  to  each  other,  cele 
brate  the  majesty,  power,  and  supremacy  of  their  respective  deities. 

PART    III. 
Harapha  is  sent,  by  the  Philistine  lords,  to  bid  Samson  attend  their  fes- 
tival, to  exhibit  his  strength  before  them,  which  at  first  he  refuses  to  do. 
His  friends,  perplexed  for  his  safety,  call  upon  God  for  help.     Samson, 


BIRMINGHAM   FESTIVAL.  247 

persuaded  inwardly  that  this  was  from  God,  yields  to  go  along  with  Har- 
apha,  who  comes  again  with  great  threatenings  to  fetch  him.  Samson  de- 
parts, invoking  the  aid  of  that  Spirit  with  which  he  had  formerly  been 
inspired.  Hia  friends  cheer  him  on,  and  declare  him  to  be  fulfilling  the 
call,  and  under  the  guidance  of  Heaven.  Manoah  returns  to  tell  his 
friends  his  hopes  of  obtaining  Samson's  release.  The  priests  of  Dagon 
are  heard  to  celebrate  the  praises  of  their  idol  for  subduing  their  foe. 
Micah  and  Manoah  hear  the  shouts  of  joy,  and  the  latter  again  manifests 
his  paternal  solicitude  for  Samson.  An  appalling,  loud,  and  confused 
noise  is  heard,  succeeded  by  wailings  and  cries  for  help.  An  Israelitish 
messenger  arrives  in  breathless  haste,  and  relates  to  the  relations  and 
friends  of  Samson  the  fearful  news  of  his  having  pulled  down  the  Philis- 
tine temple,  and  buried  his  enemies  and  himself  in  its  ruins.  Micah  and 
the  Israelites  lament  his  fall.  A  Dead  March  is  heard,  and  his  body  ap- 
proaches on  its  way  to  the  tomb ;  and  Manoah  and  Micah  and  the  Israel- 
ites perform  the  funeral  rites. 

It  is  said,  that  of  all  Handel's  oratorios,  this  was  his  favorite. 
It  was  written  when  he  was  more  at  leisure  than  he  was  when 
many  of  his  other  works  were  produced,  and  after  he  had  estab- 
lished his  fame  as  the  greatest  living  composer.  It  has  receiv- 
ed additional  accompaniments,  written  after  the  example  of 
Mozart,  by  Mr.  Costa. 

We  will  not  dwell  upon  the  performance  of  the  different 
pieces,  for  we  have  already  written  perhaps  more  upon  the 
Festival  than  will  be  read.  The  fine  overture  was  admirably 
played,  and  we.  cannot  but  think  that  an  overture  of  this  pleas- 
ing, melodious  character,  easily  appreciated  and  always  pleas- 
ing, would  sometimes  be  attractive  at  our  orchestral  concerts  in 
America.  The  chorus,  Awake  the  trumpet*  lofty  sound,  was 
very  brilliant.  The  sublime  chorus,  0  first  created  beam,  and 
thou  great  word,  Let  there  be  light !  and  light  was  over  all — was 
also  given  most  magnificently.  We  could  not  help  comparing 
this  chorus  with  the  same  subject  as  treated  in  the  Creation,  by 


248  BIRMINGHAM   FESTIVAL. 

Haydn ;  and  the  superiority  seems  to  be  most  decidedly  on  the 
side  of  Handel.  Haydn  merely  excites  surprise  and  astonish- 
ment ;  whereas  Handel  inspires  with  the  deepest  reverence  and 
awe.  God  said,  Let  there  be  light,  and  there  was  light !  Haydn 
treats  it  as  if  he  wished  to  amuse  his  hearers ;  Handel  seems 
to  feel,  and  to  express,  the  sublime  thought.  One  is  like  a 
child,  the  other  like  a  man, — one  is  loeaTc,  the  other  is  strong, — 
one  is  small,  the  other  is  great. 

Miss  Dolby's  "  Return,  0  God  af  Hosts'1''  was  perfectly  sat- 
isfactory. The  chorus,  Fixed  in  his  everlasting  seat,  was  taken 
slowly,  and  carried  through  in  steady  time,  and  with  tremend- 
ous power.  Madame  Viardot  Garcia  was  encored  in  the  Air, 
Ye  sons  of  Israel  now  lament,  and  repeated  it.  The  chorus, 
Weep,  Israel,  weep  a  louder  strain,  was  one  of  the  most  effec- 
tive points  in  the  whole  oratorio. 

When  Handel  first  wrote  Samson,  he  concluded  it  with  the 

chorus — ■ 

"  Glorious  hero,  may  thy  grave 
Peace  and  honor  ever  have  ; 
After  all  thy  pains  and  woes, 
Rest  eternal,  sweet  repose." 

We  think  this  is  a  much  better  close  than  that  which  is  now 
attached  to  the  oratorio,  and  which  Handel  wrote  afterwards. 
The  change  is  too  abrupt ;  and  we  should  much  prefer  to  leave 
the  quiet  and  gentle  emotions  produced  by  the  funeral  scene, 
(full  of  calm  resignation  and  cheering  hope,)  unbroken,  than  to 
disturb  them,  even  by  the  best  trumpet  song  which  was  ever 

written. 

"  Bring  the  laurels,  bring  the  bays, 
Strew  the  hearse,  and  strew  the  ways, 
Glorious  hero,  may  thy  grave 
Peace  and  honor  ever  have  ; 
After  all  thy  griefs  and  woes, 
Rest  eternal,  sweet  repose." 


BIRMINGHAM   FESTIVAL.  249 

Hero,  then,  we  would  stop,  leaving  the  grave  strewed  with 
flowers,  and  the  eye  of  faith  fixed  on  that  better  land,  where 
u  the  wicked  cease  to  trouble,  and  the  weary  are  at  rest."  But 
it  was  not  so.  "  Let  the  bright  seraphim,"  was  finely  sung. 
ire  sorry  to  add,  that  it  was  greatly  injured  by  a  long  ca- 
denza, foreign  and  unmeaning.  The  final  chorus,  Lei  their  celes- 
tial concerts  all  unite,  was  sung  in  a  very  spirited  manner ;  and 
this  was  the  conclusion  of  the  whole  matter. 

The  cast  of  Samson  was  a  most  powerful  one ;  and  we  sub- 
join the  programme,  for  the  gratification  of  the  members  of 
Sacred  Music  Societies,  and  others  interested  in  oratorial  per- 
formances. 

PART  I. 
Recitative,  Mr.  Sims  Reeves,  "  This  day  a  solemn  feast." 
Am,  Madame  Clara  Xovello,  "  Ye  men  of  Gaza." 
Recitative,  Mr.  Sims  Reeves,  "  Why  by  an  angel." 
Recitative,  Miss  Dolby  aud  Mr.  Sims  Reeves,  "  Matchless  in  might." 
Air,  Mr.  Sims  Reeves,  "  Total  eclipse." 

Recitative.  Mr.  Weiss  and  Miss  Dolby,  "Brethren  and  men  of  Dan." 
Air,  Mr.  Weiss,  "Thy  glorious  deeds." 
Recitative  and  Air,  Mr.  Sims  Reeves,  "  Why  does  the  God  of  Israel 

sleep." 
Recitative,  Mr.  Wei=s  and  Mr.  Sims  Reeves,  "For  thee,  my  dearest  son." 

TART  II. 

■ 
Recitative,  Mr.  Sims  Reeves  and  Miss  Dolby,  "  My  evils  hopeless  are." 

Air.  Km  Dolby,  "  Return,  0  God  of  Hosts." 

Recitative,  Mi=s  Dolby,  Mr.  Sims  Reeves,  and  Mad.  Clara  Xovello,  "  But 
who  is  this. " 

Recitative,  Air,  and  Ciioris,  Madame  Clara  Xovello,  and  Chorus  of  Fe- 
male Voices,  "  My  (kith  end  truth." 

Recitative,  Mr.  Sims  Reeves,  "  Ne'er  think  of  that." 

Diet,  Madame  Clara  Xovello  and  Mr.  Siin^  Reevee,  "Traitor  to  love." 

lira,  Miss  Dolby  and  Mr.  Sims   .  She's  gone — a  serpent 

manifest." 

11* 


250  BIRMINGHAM  FESTIVAL. 

Recitative,  Miss  Dolby,  Herr  Formes,  and  Mr.  Sims  Reeves,  "  No  words 

of  peace." 
Air,  Herr  Formes,  "  Honor  and  arms." 
Recitative  and  Duet,  Mr.  Sims  Reeves  and  Herr  Formes,  "  Go,  baffled 

coward,  go." 
Recitative,  Miss  Dolby,  "  Here  lies  the  proof." 
Recitative,  Herr  Formes,  "  Dagon,  arise." 

PART    III. 

Recitative,  Miss  H.  Williams,  Mr.  Sims  Reeves,  and  Herr  Formes,  "  More 

trouble  is  behind." 
Air,  Herr  Formes,  "  Presuming  slave." 

Recitative.  Miss  M.  Williams  and  Mr.  Sims  Reeves,  "  Consider,  Samson." 
Recitative,  Mr.  Sims  Reeves,  Miss  M.  Williams,  and  Herr  Formes,  "  Be 

of  good  courage." 
Air,  Mr.  Sims  Reeves,  "  Thus  when  the  sun." 
Recitative  and  Air,  Miss  M.  Williams,  "  The  Holy  One  of  Israel." 
Recitative,  Miss  M.  Williams  and  Mr.  Weiss,  "  Old  Manoah."' 
Recitative,  Mr.  Weiss  and  Miss  M.  Williams,  "  What  noise  of  joy  was 

that." 
Air,  Mr.  Weiss,  "  How  willing  my  paternal  love." 
Recitative,  Madame  Viardot  Garcia  and  Mr.  Weiss,  "  Your  hopes  of  his 

delivery." 
Recitative,  Mr.  Weiss,  "  Heaven,  what  noise." 
Recitative,  Mad.  Viardot  Garcia,  Mr.  Weiss,  and  Mr.  Williams,  "  Where 

shall  I  run." 
Air,  Madame  Viardot  Garcia,  "  Ye  sons  of  Israel." 
Chorus,  the  Solos  by  Mr.  Weiss  and  Madame  Clara  Novello,  "  Glorious 

hero." 
Recitative,  Mr.  Weiss,  "Come,  no  time  for  lamentation." 
Air,  Madame  Clara  Novello,  "  Let  the  bright  seraphim." 
Trumpet  Obligato,  Mr.  Harper,  jr. 

The  amount  received  on  this  last  day  was  upwards  of  eight 

THOUSAND  FIVE  HUNDRED  DOLLARS. 

We  have  given  the  amounts  received  in  round  numbers ;  we 


BIRMINGHAM   FESTIVAL.  251 

suppose  some  hundreds  of  dollars,  perhaps  a  thousand,  might 
safely  be  added. 

RECAPITULATION. 

Tuesday  morning   $11,500 

Tuesday  evening 2.100 

"Wednesday  morning 8 .  200 

Wednesday  eveniDg 4 .  300 

Thursday  morning 13.500 

Thursday  evening 5.000 

Friday  morning 8.500 

Total $53 .  100 

We  were  not  able  to  learn  what  were  the  expenses,  and 
therefore  know  not  how  much  went  to  the  charity. 

There  were  several  things  which  we  intended  to  say,  when 
listening  to  the  music,  but  which  we  find  we  have  inadvertently 
omitted.  It  was  a  glorious  performance,  from  beginning  to  end ; 
the  world  has  never  seen  a  better ;  and  in  no  place  on  earth  can 
such  a  band  and  chorus  be  brought  together,  except  in  Birming- 
ham. It  is  understood  that  arrangements  are  already  in  pro- 
gress for  the  next  Festival,  in  September,  1855. 


LETTER  XLIV. 


Funeral  Musical  Performances— Messiah— Elijah— Smaller   Musical  Associations— The 
Oratorio  Societies  in  London— Exeter  Hall— Organ  Performance. 

London,  1852. 

On  the  week  of  the  great  funeral,"  the  "Sacred  Harmonic 
Society  "  gave  two  public  performances,  appropriate,  on  the 
successive  evenings  of  Wednesday  and  Thursday.  The  selec- 
tion was  the  same  on  both  evenings,  as  follows : 

*  Of  the  Duke  of  Wellington. 


252  HANDEL'S   MESSIAH. 

Dead  March  in  Saul Handel. 

Quartet — His  Body  is  buried  in  peace Handel. 

Chorus — But  his  name  liveth  evermore , Handel. 

Am — Oh,  rest  in  the  Lord  (Elijah) Mendelssohn. 

Chorale — To  thee,  O  Lord  !  (St.  Paul) Mendelssohn. 

Air — Then  shall  the  righteous  (Elijah) Mendelssohn. 

Chorus — Happy  and  Blessed  (St.  Paul) Mendelssohn. 

Quartet  and  Chorus — Blest  are  the  Departed Spohr. 

Part  Two  embraced  the  recitatives  and  choruses  composed 
for  the  unfinished  oratorio,  Christus,  by  Mendelssohn.  And 
Part  Three  consisted  of  the  entire  third  part  of  Handel's  Mes- 
siah. 

These  performances  were  intended  as  a  "  tribute  to  the  mem- 
ory of  the  late  Duke  of  Wellington,"  and  the  performers  ap- 
peared in  appropriate  mourning. 

Handel's  Messiah  was  performed  three  or  four  times  by- 
different  societies  at  about  Christmas  time,  and  it  is  shortly  to 
be  repeated.  Nothing  is  so  popular  as  this.  The  societies  are 
obliged  to  perform  this  oratorio,  to  enable  them  to  perform 
others,  and  to  bring  out  new  music.  It  is  said  to  be  the  only 
paying  oratorio,  and  never  fails  to  draw  a  full  house.  All  the 
singers  know  it  by  heart,  so  that  a  rehearsal  for  it  is  not  needed. 
Elijah,  too,  is  so  well  known  as  not  to  need  rehearsal.  It  is 
often  done.  We  heard  it  recently  by  the  "London  Sacred 
Harmonic  Society ;"  but  the  orchestra  of  this  society  was  on 
this  occasion  much  inferior  to  that  of  either  the  other  societies, 
and  then  the  whole  performance  contrasted  much  to  its  disad- 
vantage with  the  grand  representation  of  this  oratorio  at  Bir- 
mingham. 

In  addition  to  the  three  great  societies,  there  are  freqnent 
performances  of  oratorios  by  smaller  associations  in  some  part 
of  London.  We  often  see  them  advertised,  but  have  not  been 
able  to  attend  them. 


KUflO 

There  are  now  three  large  societies  here  for  the  performance 
of  oratorios  and  the  other  smaller  works  of  the  great  Masters. 
!  farmonic  Society,*1  under  the  direction 
of  Mr.  utrmonic  Society,"  under 

the  direction  of  Mr.  Surman;  and  "The  Harmonic  Union,*7 
under  the  direction  of  Mr.  Benedict.  The  -  Sacred  Harmonic 
Society  "  is  the  original  or  oldest,  and  dates  back  to  1 E 
Surman,  the  present  conductor  of  the  u  London  Sacred  Harmonic,*' 
was  a  leading  man  in  its  establishment,  and  was  for  many  years 
its  conductor.  Some  three  or  four  years  since,  on  the  choice  of 
Mr.  Costa  as  condu*  Surman  withdrew,  and,  in  connec- 

tion with  others,  formed  a  new  society,  which  they  called  the 
4i  London  Sacred  Harmonic  Society.'*  Each  of  these  societies 
commands  a  large  chorus  of  from  six  to  eight  hundred  per- 
formers ;  they  each  employ  the  best  professional  singers  for  the 
solo  parts,  and  also  a  professional  orchestra.  They  each  have 
a  weekly  meeting  tor  rehearsal  of  such  music  as  they  are  about 
to  perform  in  public.  These  rehearsals  are  sometimes  under 
the  direction  of  the  conductor,  and  at  others  under  that  of  a  cho- 
rus-master. Hie  "  Sacred  Harmonic  Society  "*  usually  depend 
upon  an  organ  accompaniment  at  their  private  meetings :  the 
"London  Sacred  Harmonic  Society"*  have  an  amateur  orchestra, 
which  plays  badly  enough  oh  these  occasions ;  and  the  "  Har- 
monic Union  "  employs  the  grand  piano-forte,  sometimes  under 
the  hands  of  Mr.  Benedict,  while  at  others  he  directs  to  the 
playing  of  an  assistant.  I  hardly  need  say  that  the  piano-forte 
accompanimen*  the  best  for  all  the  drilling  or  training 

purposes  of  such  meetings.  The  orchestras  employed  by  the 
u  Sacred  Harmonic  Society  **  and  by  the  u  Harmonic  Union** 
are  much  the  most  powerful  and  efficient,  usually  numbering 
D  double  basses,  and  other  instruments  in  proportion. 
These  societies  all  give  their  public  performances  in  Exeter 


254  EXETER  HALL. 

Hall,  and  hold  their  rehearsals  in  an  adjoining  room,  capable 
of  accommodating  some  six  or  seven  hundred  persons.  This 
room  contains  a  small  organ  of  ten  or  twelve  stops.  The  large 
hall  has  lately  been  much  altered,  enlarged,  ornamented,  and 
improved,  so  that  it  is  one  of  the  best  concert-rooms  any  where 
to  be  found.  It  seats  comfortably  three  thousand  persons,  and 
by  the  aid  of  extra  chairs  and  standing-places  will  accommodate 
a  thousand  more ;  so  that  it  often  contains  a  company  of  three 
thousand  or  three  thousand  five  hundred  hearers.  The  organ 
has  also  undergone  very  thorough  repairs,  and  has  been  con- 
siderably enlarged.  It  was  built  by  Walker,  one  of  the  best 
London  organ  builders,  and  in  its  improved  state  contains  a 
little  less  than  three  thousand  pipes.  Its  compass  is  from  F  to 
G,  or  sixty-three  pipes.  The  pneumatic  principle  has  been 
applied  to  this  instrument ;  so  the  touch  is  easy,  and  the  three 
rows  of  keys,  when  coupled,  may  be  played  with  but  very  little 
extra  power  of  the  finger.  The  pedal  organ  has  nine  stops ; 
there  are  also  eight  changing  or  coupling  stops.  Though  not 
so  large  as  some,  it  is  very  complete,  has  sufficient  power  for 
the  hall,  and  is  well  adapted  to  the  wants  of  the  different 
societies.  At  the  reopening  of  the  hall  this  season,  an  organ 
performance  was  given,  under  the  direction  of  the  "Sacred 
Harmonic  Society,"  by  its  organist,  Mr.  J.  L.  Brownsmith. 
This  performance  commenced  at  eleven  o'clock,  A,  M.,  and 
consisted  of  the  following  selections : 

Lift  up  your  heads Handel. 

Pastoral  Symphony Handel. 

Et  iocarnatus  est Mozart. 

Coronation  Anthem Atwood. 

German  Hymn . 

Dead  March  in  Saul Handel. 

Movement  from  a  Symphony Mozart. 


ENGLISH   ORGAN   PLAYING.  255 

The  Old  Hundredth  Psalm  Tune • • 

Minuet  (Samson) '. «  fxondel 

Fugue Leo 

Angels  ever  bright  and  fair •  .  .Handei 

Hallelujah Hande. 

God  save  the  Queen 

Perhaps  nothing  could  more  distinctly  mark  the  difference 
of  taste  for  organ  music  and  style  of  organ  playing  between 
the  Germans  and  the  English  than  this  performance,  when  com- 
pared with  the  similar  organ  performances  one  hears  in  the 
German  cities.  Here  there  was  not  a  single  organ  piece,  but 
the  bill  was  mostly  made  up  with  extracts  from  the  vocal  com- 
positions of  Handel.  However  beautiful  these  may  be,  they 
are  not  adapted  to  organ  playing,  or  certainly  not  to  the  exhi- 
bition of  the  powers  of  the  instrument  or  the  capacity  of  the 
player.  Mr.  Brownsmith  is  really  an  excellent  organist,  and 
we  could  not  but  regret  that  he  should  not  have  done  himself 
the  justice  to  play  some  of  the  great  German  organ  music.  But 
the  public  taste  must  be  consulted,  and  unhappily  there  is  too 
often  amongst  the  musical  profession  a  willingness  to  sacrifice 
their  own  taste,  and  the  opportunity  of  ministering  to  the 
improvement  of  that  of  the  public,  by  the  performance  of  such 
music  as  will  please  rather  than  improve.  We  could  see,  too, 
by  observing  the  countenances  and  movements  of  the  company, 
that  the  lightest  music  pleased  the  most.  For  example,  no  one 
piece  pleased  more  than  the  minuet  from  Samson.  It  was  very 
tastefully  and  beautifully  performed,  and  with  the  organist  every 
one  must  have  been  delighted;  so  also  the  music  is'good  in  its 
place — nothing  bettor.  But.  alas!  that  the  poor  organ  should 
have  to  come  down  from  its  lofty  eminence  and  bo  made  a 
mere  imitator  of  an  orchestra.  The  minuet  commanded  uni- 
versal attention,  and  the  people  were  pleased.     A  fugue  by  Leo 


256  REV.   MR.   VILLIERS. 

followed ;  and  this  afforded  them  a  fine  opportunity  to  express 
the  gratification  they  had  just  received,  as  the  old  fuguist  had  no 

turn,  turn  —  |  diddle,  diddle  dum  |  turn,  turn  —  |  diddle,  diddle  dum, 

with  which  to  produce  the  graceful  waving  of  the  head,  and 
occasionally  the  foot-movement  upon  the  floor.  We  are  a  little 
more  Germanized  in  America ;  and  I  can  hardly  think  it  pos- 
sible that  a  similar  organ  exhibition  could  be  made  in  Boston 
or  New  York  in  which  old  Bach  would  not  be  heard.  There 
is  a  greatness  about  the  organ-playing  of  the  Germans  that  is 
not  known  here.  In  the  church  service  the  difference  is  very 
great.  In  Germany  we  hear  the  lofty,  grand,  soul-inspiring 
strains  of  the  full  organ  and  of  fugue ;  whereas  in  England  the 
ornamental,  gilded,  spangled,  fringe-trimming  style  too  often 
prevails. 


LETTER    XLV 


St.  George's  Bloomsbury— St.  Paul's  Cathedral— Dr.  Watts's  Chapel— Pickle  Shop- 
John  Newton. 

London,  20th  September,  1852. 

Rev.  Mr.  Villiers,  the  clergyman  of  this  parish,  is  not  only 
a  very  popular,  but  a  very  excellent  and  evangelical  preacher ; 
he  has  a  large  congregation,  and  the  service  throughout,  on  Sab- 
bath last,  was  highly  interesting.  Of  course  the  common  Epis- 
copal liturgy  is  used.  The  psalms  are  read,  but  at  the  end  of 
each  psalm,  as  is  very  common  here,  the  Gloria  Patri  is  chanted. 
The  Canticles  are  chanted ;  though  this  day  the  "  Jubilate  Deo  " 
was  sung  in  anthem  form  by  the  whole  congregation.  The 
music  was  very  plain,  and  rather  quick ;  that  is,  about  as  quick 
as  it  is  convenient  to  speak  the  words  and  observe  a  distinct 


DR.   WATTS'S   CHAPEL.  257 

and  solemn  utterance.  This  Congregational  anthem  singing  is 
not  common,  though  it  is  quite  practicable.  The  Canticles  were 
chanted  by  the  whole  people,  and  quite  well  done.  Cadences 
no  slower  than  the  utterance  of  the  words  on  the  chanting  note. 
Both  the  chanting  and  the  anthem  singing  this  morning  afforded 
sufficient  proof  of  the  practicability  of  these  forms  of  music  in 
congregations ;  but  it  must  be  understood  that  the  anthem  was, 
as  we  have  already  said,  very  plain.  We  know  of  but  very 
few  sufficiently  plain,  contained  in  our  American  singing  books. 
Two  metrical  psalms  were  sung,  both  well  done — everybody 
taking  a  part.  The  organ  was  not  very  well  played  ;  the  organ- 
ist seeming  rather  to  adapt  himself  to  choir  than  to  Congrega- 
tional singing,  and  making  too  much  variation  of  stops  and  of 
piano  and  forte  in  different  stanzas.  The  introductory  volun- 
tary was  not  more  than  three  minutes  in  length,  and  there  were 
no  interludes  between  the  stanzas  of  the  hymns. 

At  three  o'clock  we  attended  service  at  St.  Paul's.  Mr. 
Goss  very  kindly  gave  us  a  seat  in  the  organ  loft — the  most 
favorable  place  for  observing  the  whole  service. 

In  the  evening  we  started  to  go  to  the  chapel  in  which  Dr. 
Watts  used  to  preach,  Bury  Chapel,  St.  Mary,  Axe.  We 
looked  and  looked  again,  but  could  find  no  chapel ;  after  walk- 
ing down  and  up  the  street  for  several  times,  we  found  a  man 
who  could  give  us  information,  but  alas !  it  was  sad  indeed  to 
hear  that  the  house  so  long  occupied  by  him  whose  praise  is  in 
all  the  churches,  and  in  whose  words  all  the  churches  sing 
.  is  no  longer  used  for  public  worship,  but  has  been 
turned  into  a  pickle  shop.  We  do  QOt  know  what  has  become 
of  the  congregation.  We  then  went  to  St.  Mary,  Woolworth, 
Lombard-street,  and  attended  service  in  the  church  where  John 
Newton  used  to  preach.  Here  we  heard  an  excellent  and 
faithful  sermon.     The  spirit  of  Newton,  or  rather  the  spirit  of 


258  NORWICH   FESTIVAL. 

the  Gospel,  is  yet  manifested  within  these  walls.  The  singing 
was  led  by  about  a  dozen  charity  children ;  the  girls  being 
dressed  as  the  old  ladies  of  New  England  used  to  dress  half  a 
century  ago,  each  having  a  square  handkerchief  folded  about 
the  neck,  a  high  white  muslin  cap,  and  a  white  apron.  The 
chants  were  plain,  and  tolerably  well  done,  and  so  were  the 
tunes, — all  the  people  singing.  The  organist  played  very  long 
interludes ;  in  several  cases  the  interludes  were  one  quarter 
longer  than  the  tune  itself.  They  were  tedious,  and  in  bad 
taste;  otherwise  the  organ  was  well  played.  The  exercises 
closed  with  the  hymn,  "  May  the  grace  of  Christ  our  Saviour," 
sung  to  the  tune  Sicily, — quite  home-like. 


LETTER  XLVI. 


The  Norwich  Musical  Festival. 

London,  September  30,  1852. 

This,  like  the  Birmingham  Festival,  is  triennial.  It  was 
omitted  last  year  on  account  of  the  absence  of  Mr.  Benedict, 
its  conductor,  in  America.  Previous  to  the  conductorship  of 
Mr.  Benedict,  was  that  of  the  Gresham  professor,  Mr.  Ed. 
Taylor,  the  friend  of  Spohr,  who  was  instrumental  of  the  intro- 
duction of  the  great  German  composer's  oratorios  into  England. 
Indeed,  Professor  Taylor  translated  and  adapted  the  English 
words  to  several  oratorios  and  other  vocal  compositions  of  the 
Capellmeister  of  Cassel.  The  success  of  Spohr's  oratorios  was 
represented  as  having  been  entirely  satisfactory,  and  we  won- 
der why  the  directors  of  the  Norwich  Festival  who  had  the 
honor  of  first  bringing  out  these  great  works,  should  not,  at 


NORWICH   FESTIVAL.  259 

least,  cause  one  of  them  to  be  performed  on  every  Festival  oc- 
casion. There  certainly  must  be  other  reasons  than  those  of 
musical  merit,  since  at  the  Festival,  the  present  year,  two  orig- 
inal oratorios  (so  called)  have  been  performed,  which,  to  say 
the  least,  are  vastly  interior  to  either  of  those  of  Spohr.  The 
love  of  novelty  is  undoubtedly  one  of  these  reasons ;  the  an- 
nouncement of  something  new,  or  to  be  performed  for  the  first 
time,  always  influences  many,  even  though  the  newness  should 
consist  in  but  the  name  of  the  thing,  as  in  the  present  instance. 
The  great  mass  of  people  really  know  but  little  of  true  musical 
merit,  even  with  respect  to  performance,  and  still  less  do  they 
know  of  musical  composition.  Hence,  let  any  ignoramus  an- 
nounce a  new  oratorio,  and  many  will  run  after  him  and  pay 
their  money  to  listen  to  something  which  they  suppose  to  be 
very  wonderful.  It  is  really  astonishing  to  see  the  amazing 
presumption  and  self-complacency  of  some  persons  assuming 
to  be  oratorio  composers.  The  fact  is,  there  have,  as  yet,  lived 
in  the  world  but  some  two  or  three  persons  who  have  attempted 
to  compose  oratorios  whose  works  have  stood  the  test  of  time. 
That  others  will  be  raised  up,  we  have  no  doubt ;  but  modesty 
becomes  a  youthful  aspirant  to  the  distinction  of  composer  of 
an  oratorio. 

The  two  new  oratorios  announced  for  this  Festival  were  Is- 
rael Restored,  by  Dr.  Win.  R.  Bexliekl,  and  Jerusalem,  by  Mr. 
I  bury  II.  Picrson,  and  report  had  spoken  so  favorably  of  both 
of  these  that  we  felt  a  desire  to  go  and  hear.  An  engagement 
in  London,  however,  prevented  our  attendance  on  Wedn 
morning,  when  u Israel  Restored"  was  performed.  If  we  may 
judge  by  the  reports  of  the  musical  men  we  have  met.  it  is 
much  the  lietter  of  the  two  :  possessing  indeed  some  good  points 
and  effective  pieces,  both  solos  and  choruses,  yet  undeserving, 
on  the  whole,  of  its  dignified  name,  and  sinking  quite  into  in- 


260  NORWICH  FESTIVAL. 

significance  by  the  side  of  Handel,  or  the  popular  writer  al- 
ready named,  whose  compositions  were  produced  under  the  di- 
rection of  the  Gresham  Professor. 

We  arrived  at  Norwich  on  Wednesday  (four  and  a-half  hours 
from  London)  in  early  season  for  the  second  evening  concert. 
The  performances  were  given  in  the  St.  Andrew's  Hall,  a  large 
and  convenient  room,  though  greatly  inferior  in  size  and  gen- 
eral arrangement  to  the  Town  Hall,  Birmingham.  The  size 
of  the  room  is  one  hundred  and  twenty-four  feet  by  seventy- 
five.  The  roof  is  supported  by  twelve  Gothic  pillars,  six  on 
each  side,  which  are  injurious  alike  to  hearing  and  seeing.  The 
orchestra  is  fitted  up  at  the  West  end  of  the  Hall,  and  opposite 
to  it,  or  at  the  East  end,  is  the  patron's  gallery,  occupied  by 
the  Lords  and  Ladies,  or  by  such  persons  as  choose  to  pay  dou- 
ble price  for  their  tickets.  In  front  of  the  patron's  gallery, 
stalls  or  reserved  seats  were  fitted  up  at  fifteen  shillings  each ; 
to  the  space  between  these  and  the  orchestra,  the  tickets  were 
ten  shillings  and  sixpence  ;  but  as  these  latter  were  unreserved 
places,  it  was  necessary  to  be  in  previous  attendance  for  half  an 
hour  or  more  at  the  outer  door,  and  then  to  wait  an  hour  inside 
after  having  fought  one's  way  to  a  seat.  The  Hall  is  orna- 
mented with  pictures,  and  contains  a  very  good  organ. 

The  chorus  was  constituted  as  follows : 

Female  Soprunos 41 

Boys  do 34 

—75 

Female  Alto 5 

Men         do 4*7 

—52 

Tenors , 60 

Basses 67 

Total 254 


NORWICH   FESTIVAL.  261 

THE    ORCHESTRA    CONSISTED    OF 

22  First  V inline,  4  Bassoons, 

20  Second  Violins,  6  Horns, 

18  Altos  4  Trumpets, 

11  Violoucellos,  6  Trombones 

11  Double  Basses,  2  Ophicleidcs, 

4  Flutes.  Double  Drunij 

4  Oboes,  Bass  Drum, 

4  Clarionets,  Side  Drum. 

— in  all,  119  instruments  beside  the  organ. 

TUE    SOLO    SINGERS    WERE 

Mad.  Viardot  Garcia,  Mr.  Sims  Reeves, 

Miss  Louisa  Pyne,  Mr.  Lockey, 

Madame  Fiore.ntini.  Signor  Belletti, 

Miss  Alleyne,  Herr  Formes, 

Miss  Dolby,  Mr.  Weiss. 
Signor  Gardoni, 

the  instrumental  solo  performers 

Mons.  Sainton  and  Mr.  Blagrove Violins. 

Herr  Hausmann Violoncello. 

Signor  Bottesini Double  Bass. 

Mr.  Harecourt Organist. 

Mr.  J.  F.  Hill Chorus  Master. 

Mr.  Benedict Conductor. 

The  number  of  performers  was  a  little  less  than  at  Birming- 
ham, but  in  effect  about  the  same,  with  the  exception  of  the  so- 
prano and  the  alto  of  the  vocal  chorus.  These  were  much 
inferior.  The  soprano  at  Birmingham  consisted  almost  entirely 
of  the  full-grown  voices  of  females,  whereas  at  Norwich,  many 
of  the  female  voices  were  quite  young;  and  then  there  were 
boys  enough  to  spoil  almost  any  soprano.  The  consequence 
was  that  the  soprano  was  sometimes  harsh.     The  whole  effect 


262  NORWICH  FESTIVAL. 

of  the  performance  was  also  greatly  marred  by  the  boyish  and 
girlish  conduct  witnessed  in  standing  up  and  sitting  down,  in 
fanning  one  another  with  books,  in  laughing,  talking,  sending 
round  papers,  and  general  frivolity,  unbecoming  at  any  time 
and  especially  on  such  an  occasion.  But  it  was  not  strange  to 
us ;  we  have  witnessed  something  like  it  before,  both  in  Sing- 
ing Societies  and  in  Church  choirs ;  showing  that  in  some  of 
the  incidentals  of  choir  life,  the  English  do  not  differ  materially 
from  the  Americans,  and  that  lectures  on  correctness  of  deport- 
ment in  choirs  are  equally  necessary  in  both  countries. 

Again,  the  alto  was  composed  mostly  of  men's  voices.  The 
effect  was  a  harshness  or  roughness  that  has  no  mercy  upon 
one's  nervous  system  or  musical  sensibilities,  and  that,  in  the 
present  instance,  made  one  often  curl  or  shrink  away  as  if  a 
severe  blow  had  been  inflicted ;  besides,  in  pressing  up  to  the 
high  tones,  the  men  did  not  all  quite  reach  the  point ;  making 
altogether  too  much  of  that  which  the  organ-tuners  call  "  wolf" 
— a  name  applicable  as  well  to  quality  of  tone  (howling)  in  this 
case  as  to  intonation.  With  these  exceptions  (and  they  are 
important  ones)  the  vocal  chorus  was  highly  effective.  Mr. 
Benedict  is  a  fine  conductor,  fts  is  well  known  on  both  sides  of 
the  Atlantic,  and  he  seemed  to  do  his  utmost  (and  with  great 
success)  to  secure  the  proper  results.  We  had  the  pleasure  of 
meeting  him ;  he  seemed  to  be  delighted  to  be  reminded  of 
his  American  tour,  and  spoke  of  kind  treatment  received,  and 
endearing  friendships  formed.  Both  Benedict  and  Belletti 
looked  like  home,  and  brought  up  to  the  imagination  Castle 
Garden,  Tripler  Hall,  and  Tremont  Temple ;  but  in  vain  we 
looked  around  for  Jenny — she  was  not  there ;  nor  was  there 
any  one  who  could  supply  her  place.  We  had,  in  another  de- 
partment, the  Viardot  ;  but  she  belongs  to  a  different  school. 

The  following  was  the  programme  for  Tuesday  evening : 


NORWICH   FESTIVAL.  263 

PART  L 

SELECTIONS    FROM    THE    "WORKS    Of    CLASSICAL    COMPOSERS. 

Overture.     Oberon CM.  Von  Weber. 

National  Antuem,  •'  God  save  the  Queen."  By  the  priucipal 
singers  and  chorus. 

Quint  etto,  "  Sento  o   Dio."     Miss   Louisa   Pyne,  Miss  Alleyne, 

Signor  Belletti,  Mr.  Lockey,  ami  Mr.  Weiss.  Cosi  fan  tuttc .  .Mozart. 

Aria,  "  Ah  remliini  quel  cor."     Miss  Dolby Francesco  Rossi  (1686). 

Song,  "  Fairer  the  meads  are  growing."     Mr.  Lockey Mendelssohn. 

Aria,  "  Ha,  wie  will  ich  triumphireu.''     Herr  Formes,     Die  Ent- 

fixhrung  aus  don  Serai  I Mozart. 

Duetto,  "  Bella   ninfa."     Miss   Louisa    Pyne   and  Sig.   Gardoni. 

Jessonda Spohr. 

Scena  with  Chorus,  "  Chi  mai   dell  Erebo."     Madame  Viardot 

Garcia.     Orfeo Gluck. 

Aria.  Mr.  Sims  Reeves.  "Adelaide."  Pianoforte,  Mr.  Benedict..  Beethoven. 

Skiu.nade,  "  Deh  vieni  alia  finestra."  Sig.  Belletti.  Don  Giovanni.. Mozart. 

Air  and  Variations,  Double  Bass.     Sig.  Bottesini Bottesini. 

Quartet  (unaccompanied),   "  Dors  en  paix."     Sig.  Gardoni,  Mr. 

Lockey,  Sig.  Belletti,  and  Mr.  Weiss CM.  Von  Weber. 

Spanish  Songs,  accompanied  by  herself  on  the  Pianoforte.  Mad- 
ame Viardot  Garcia. 

Quartet  and  Chorus,  "  Alziam  gli  evviva."  Miss  Louisa  Pyne, 
Miss  Dolby,  Mr.  Sims  Reeves,  and  Herr  Formes.  "  Eu- 
ryanthe." Weber. 

PART  II. 

Shakspeare's  Play  of  "  A  Midsummer  Night's  Dream,"  with  the 

incidental  music,  composed  by Felix  Mendelssohn  Bartholdy, 

Read  by  Mrs.  Fanny  Kemble. 
•ure.  BOBSBSU  Fairy  March. 

Duett  with  Chorus,  "  Ye  spotted  snakes."     Miss  Louisa  Pyne 

and  Miss  Alley  M, 
Interlude.  Notturno.  Wedding  March. 

Finale  and  Chorus,  "  Thro'  this  house." 


264  NORWICH  FESTIVAL. 

Report  speaks  highly  of  the  musical  performances,  and  es- 
pecially of  the  singing  of  Madame  Viardot.  One  of  the  papers 
spoke  of  her  in  the  following  terms :  "  In  Madame  Viardot  we 
have  art  perfected  by  the  highest  intelligence  and  the  deepest 
sensibility,  affording  an  example  not  of  the  power  which  takes 
an  audience  by  storm,  and  at  once  lifts  itself  to  the  very  pin- 
nacle of  fame,  but  of  that  intrinsic  excellence  which,  gradually 
increasing  its  power  over  the  public,  at  length  reaches  the  sum- 
mit, and  when  there  renders  itself  hourly  more  stable  by  its 
own  strength.  This  is  the  position  and  the  claim  of  Madame 
Viardot  Garcia."  The  reading  of  the  play,  even  by  Mrs.  Fanny 
Kemble,  was  regarded  as  out  of  place ;  and  not  even  the  artistic 
excellence  of  the  reader,  and  the  attractiveness  of  Mendelssohn's 
music,  could  hold  the  audience,  who  were  evidently  fatigued 
and  impatient  for  rest.  "The  general  feeling  was  that  it  ought 
to  have  been  the  first  act,  and  that  the  musical  selections  should 
have  been  shortened." 

"We  have  already  alluded  to  the  Wednesday  Morning's  per- 
formance, the  Oratorio  of  "  Israel  Restored"  by  Dr.  Bexfield. 
We  extract  from  the  programme  the  following  argument : — 

"  The  overture  (a  sort  of  index  to  the  work)  having  been  performed, 
the  first  part  contains  the  prophecies  concerning  the  Israelitish  nation, 
•which  are  followed  by  God's  awful  threats  and  punishments  for  their 
disobedience  and  unbelief.  At  their  scattered  and  desolate  coudition,  'all 
her  people  sigh  !'  They  pray  that  God  will  ■  make  their  way  plain,'  and 
that  their  prayers  may  '  enter  his  presence.'  The  prophecies  are  then 
gradually  developed.  Israel  is  to  '  return  and  be  at  rest,'  and  '  God  will 
wipe  away  all  tears  from  their  eyes;  The  Israelites  become  a  happier 
race ;  they  gather  themselves  together  and  sing,  '  Blessed  is  he  that 
cometh  in  the  name  of  the  Lord,'  acknowledging  Him  as  their  '  Father  and 
Redeemer.'  The  great  end  is  then  accomplished; — Israel  being  restored 
in  '  peace  and  glory'  to  their  '  own  land,' '  break  forth  into  joy,'  and  exclaim 
"  Marvellous  are  thy  works,  Lord  God,  Hallelujah  !     Amen.' " 


NORWICH   FESTIVAL.  265 

At  the  close  of  the  oratorio  the  following  pieces  from  Samson 
performed  by  order  of  the  Committee  of  Arrangements, 
as  a  tribute  of  respect  to  the  memory  of  the  Duke  of  Well- 
ington : — 

SOLO — Madame  Viardot  Garcia. 

"  Ye  sons  of  Israel,  now  lament, 
Your  spear  is  broke,  your  bow  unbent, 
Your  glory's  fled — 
Among  the  dead 
Our  hero  lies, 
Forever  closed  his  eyes." 

DEAD  MARCH.— Chorus. 

"  Glorious  hero,  may  thy  grave 
Peace  and  honor  ever  have : 
After  all  thy  pains  and  woes, 
Rest  eternal,  sweet  repose.'* 

'•  The  simple  solemnity,  beauty,  and  pathos  of  the  lament,  by 
Madame  Viardot,"  says  an  able  critic,  "  surpassed  all  we  can 
recall  to  mind.  It  was  indeed  the  singing  of  the  great  artist — 
a  great  mind.  To  describe  it  would  be  impossible — but  there 
was  a  holy  inspiration  in  the  union  of  sound  and  sense — a  sim- 
ple grandeur  in  the  style  which  silently  stole  its  way  into  every 
breast,  for  which  tears  came  to  their  relief."  Madame  Viardot 
Bang  this  same  air  of  deepest  pathos  in  the  regular  course  of 
the  oratorio  of  Samson  at  Birmingham.  It  was  then  given  with 
'  power,  and  we  can  easily  imagine  that,  affected,  as 
she  must  have  been  on  the  present  occasion,  by  the  recollection 
of  the  recent  (hath  of  the  illustrious  Duke,  and  by  the  circum- 
stances under  which  she  sang,  she  must  have  thrown  into  it  a 
degree  of  feeling  seldom  witnessed.  Suppose  now,  that  on  this 
occasion,  the  Trumpet  Song,  and  the  chorus,  u  Let  their  celestial 

12 


266  NORWICH  FESTIVAL. 

concerts  all  unite,"  had  been  added  !  Every  child  in  the  room 
would  have  been  struck  with  the  bad  adaptation,  and  the  extreme 
iiiappropriateness  of  the  music.  Carry  ourselves  back  as  near 
to  Samson  as  we  are  now  to  Wellington,  and  we  think  we  have 
an  illustration  of  the  remarks  made  in  our  communication  on 
the  Birmingham  Festival,  in  relation  to  the  close  of  the  Oratorio 
of  Samson. 

Our  first  attendance  at  Norwich  was  at  the  second  (Wednes- 
day) evening  performance.     The  following  is  the  programme : 

PART  I. 

Pastorale  Sinfonia Beethoven. 

Duett,  "  Folg  dem  Freunde  mit  Vertrauen,"  Madame  Viardot 

Garcia  and  Herr  Formes.     Faust Spohr. 

Recitative  and  Aria,  <;  Chi  per  pieta  mi  dice."     "  Deh !  parlate 

che  forse  tacendo,"  Madame  Fiorentini.     11  sacri- 

ficio  dAbramo Cimarosa. 

Scexa  and  Air,  "Soft  airs  around  me  play,"  Mr.  Sims  Reeves. 

Euryanthe CM.  v.  Weber. 

Variations,  "  Ah !  je  veux  briser  ma  chaiue,"     Miss  Louisa 

Pyne.     Les  Diamants  de  la  Couronne Auber. 

Terzetto,  "  Tremate,  empi  tremate,"  Madame  Fiorentini,  Sig- 

nor  Gardoni,  and  Signor  Belletti Beethoven. 

Air,  "  I  am  a  roamer  bold  and  gay,"  Mr.  Weiss.     Son  and 

Stranger Mendelssohn. 

Aria,  "  Oh  cara  immagine,"  Signor  Gardoni.     Flauto  Magico Mozart. 

Aria,  "ISTobil  Signor,"  Miss  Dolby.     Les  Huguenots Meyerbeer. 

Concertante  for  four  violins,  Messrs.  Sainton,  Blagrove,  Day, 

and  Cooper .Maurer. 

Scena  and  Aria,  "  Nacqui  all'  affanno."      "Non  piu  mesta," 

Madame  Viardot  Garcia.     Cenerentola Rossini. 

Aria,  with  Chorus,  "  Possenti  Numi,"  Herr  Formes.    Flauto 

Magico Mozart. 


NORWICH   FESTIVAL.  267 

PART  II.— MISCELLANEOUS. 

Selections  from  The  Minncssingcr Benedict. 

(First  time  of  performance.) 
Ovkrturk. 

Romance,  "  As  weeping  on  my  breast  she  lay,"  Mr.  Sims  Reeves. 
Hunting  Chorus,  "  To  the  chase." 
Ballad,  "  My  home  is  in  the  peasant  cot."     Miss  Louisa  Pyne. 

Song,  "  O  give  me  back,"  Mr.  Lockey.     Pascal  Bruno Hatton. 

Aria,  "Havvi  un  Dio,"  Madame  Fiorentini.     Maria  de  Rohan..  .Donizetti. 
Quintet,  "  Pour  les  attraits,"  Madame  Viardot  Garcia,  Miss 

Louisa  Pyne,  Miss  Dolby,  Signor  Gardoni,  and  Mr. 

Weiss.     Marie  Stuart Niedermeyer. 

Barcarola,  "Sulla  poppa  del  mio  brik,"  Signor  Belletti.     La 

prigione  d Edinburgo Ricci. 

Song,  "0  bid  your  faithful  Ariel,"  Miss  Alleyne.   The  Tempest. . .  .Linley. 
Glee,  '-Blow  gentle  gales,"  Miss  Louisa  Pyne,  Miss  Dolby, 

Messrs.  Sims  Reeves,  Lockey,  and  Weiss Bishop. 

Coronation  March.     Le  Prophete Meyerbeer. 

The  house  was  well  filled  though  not  crowded.  Mr.  Benedict 
met  with  a  flattering  reception  on  his  entrance,  as  he  did  at 
every  performance.  The  conductor  is  looked  upon  here,  not  as 
a  mere  time-beater,  but  as  the  responsible  agent,  an  embodied 
representation  of  the  whole  corps  ;  to  him  the  performers  look 
for  safe  conduct,  and  to  him  the  audience  look  for  satisfactory- 
results.  He  is  cheered  when  he  comes  in,  and  this  inspires  him 
aii'l  all  who  depend  upon  his  baton  with  confidence,  and  is  very 
likely  to  insure,  at  least,  a  good  beginning.  The  Pastoral 
Symphony  by  Beethoven,  one  of  his  most  picturesque  and 
beautiful  productions,  was  perfectly  rendered  throughout.  The 
soft  coloring  of  the  pastoral  scene,  the  singing  of  the  happy 
birds,  the  dance  of  the  rustics,  the  thunder  and  the  tempest — 

"At  first  heard  solemn  o'er  the  verge  of  heaven," 

and  afterwards  when  the  storm  was  over ;  when 


268  NORWICH  FESTIVAL. 

"  Thro'  the  lightened  air 
A  higher  lustre  and  a  clearer  calm, 
Diffusive  tremble." 
and 

"  Nature  stands  revived" — 

All  seemed  to  say,  the  ideal  of  the  immortal  composer  is  real- 
ized, the  spirit  of  Beethoven  is  here; — 

"  'Tis  beauty  all,  and  grateful  song  around." 

The  village  dance  and  the  storm  especially  chained  the  atten- 
tion, and  the  audience  listened  with  unmingled  delight.  So  it 
is  when  Sontag  or  Jenny  Lind  pours  out  her  enchanting  strains, 
filling  the  mind  with  lively  forms  of  beauty,  and  the  heart  with 
joy  and  gladness.  The  influence  of  our  Musical  Fund  Societies, 
or  such  societies  as  are  engaged  in  bringing  out  the  grand  sym- 
phonies of  Mozart  and  Beethoven,  is  most  important  to  musical 
progress  and  taste.  Concerts  where  music  of  this  description 
is  performed,  by  such  competent  bands  as  we  now  have  in  New 
York  and  Boston,  and  I  suppose  in  other  more  southern  cities 
also,  are  schools  of  taste,  which  every  one  ought  to  attend. 
Parents  ought  to  take  their  children  to  these  concerts,  and  let 
them,  while  young,  form  a  taste  for  music  so  pure  and  truthful, 
and  thus  prevent  the  evil,  so  extensive,  that  results  from  an 
acquaintance  more  easily  formed  with  coarser  strains  too  often 
found  on  handsomely-engraved  sheets,  with  vignette  ornamental. 
There  is  music  enough  indeed  to  vitiate  taste ;  it  is  found  in  the 
domestic  circle,  in  the  concert-room,  and  in  church;  and  the 
work  of  corrupting  is  much  easier  than  that  of  elevating  and 
refining  a  relish  for  good  music,  considered  either  with  respect 
to  its  intellectual  or  its  aesthetic  influences.  Success  then  to 
those  societies,  by  whatever  name  they  are  called,  whose  object 
it  is  to  bring  out  the  great  works  of  which  we  speak,  which  are 


NORWICH   FESTIVAL.  269 

at  once  a  school  and  the  highest  standard  of  musical  excellence. 
Every  one  who  loves  music,  nay.  every  one  who  loves  his 
fellow-man,  and  desires  to  promote  the  cause  of  general  culti- 
vation and  civilization,  ought  to  patronize  these  societies.  Let 
their  season  tickets  all  be  taken,  and  at  a  price,  too,  which  shall 
at  once  enable  them  to  bestow  the  labor  requisite  for  bringing 
out  these  works  in  a  proper  style,  and  also  to  live,  at  least  from 
hand  to  mouth,  while  they  do  it.  Public  benefactors  must  not 
usually  expect  large  pecuniary  reward,  but  why  should  the 
musician  receive  less  than  the  least  of  all  others !  We  have 
got  away  from  our  subject,  but  we  are  glad  of  it,  for  we  have 
happened  to  touch  one  of  much  practical  importance  to  music's 
best  influences. 

The  Duet  from  Faust  was  charmingly  done,  yet  Herr  Formes 
should  have  had  a  little  compassion  on  his  fair  colleague,  for  his 
voice  was  too  powerful  for  that  of  the  Viardot.  Madame  Fio- 
rentini  is  a  brilliant  soprano,  and  is  indeed  a  fine  singer,  but  is 
inferior  to  the  two  who  outrival  all  others  in  the  style  in  which 
she  sings.  The  song  by  C.  Von  Weber,  Soft  airs  around  me 
play,  a  song  in  which  Mr.  Sims  Reeves  excels,  was  done  in  his 
wry  best  style.  Miss  Louisa  Pyne  did  herself  great  credit 
and  charmed  an  attentive  audience  with  the  neatness  and  pre- 
cision (almost  Belletti-like)  with  which  she  sang  the  very  diffi- 
cult variations  by  Auber.  A  most  animated  and  humorous 
song  is  that  of  the  Pedlar,  from  a  comic  operetta  by  Mendels- 
sohn. The  Son  and  Stranger.  Mr.  Weiss'  performance  of  it 
WSJ  irresistible,  and  a  unanimous  encore  followed.  The  four 
violinists  in  the  very  brilliant  Coneertante  drew  forth  immense 
applause.  It  is  a  fine  concert  piece  of  the  lighter  kind,  and  can 
fail  to  please  if  well  done.  Madame  Viardot  Garcia  was 
encored,  as  sh<-  I  t<>  be,  in  the  Aria  from  Cenerentola, 

and  Herr  Formes  concluded  the  first  part  of  the  oonoerl  by  as 


270  NORWICH  FESTIVAL. 

perfect  a  singing  of  the  well-known  air  from  Mozart  as  is  pos- 
sible to  human  organs.  Majestic,  dignified,  and  deliberate — 
who  but  Formes  could  give  it  thus  ?  In  the  second  part  sev- 
eral pieces  were  introduced  from  an  unpublished  opera  by 
Mr.  Benedict,  entitled  the  Minnesinger.  First,  the  Overture, 
which  was  finely  played  by  the  magnificent  band,  and  drew 
forth  much  applause.  Then  followed  the  song  by  Mr.  Reeves, 
the  hunting  chorus,  To  the  chase,  and  the  most  pleasant  ballad, 
My  home  is  in  the  peasant  cot :  the  manner  in  which  this  music 
was  received  must  have  been  highly  gratifying  to  the  composer 
and  conductor,  for  it  manifestly  gave  great  delight.  Mr.  Bel- 
letti's  performance  of  the  Barcarola,  Sulla  poppa  del  mio  brik, 
was  not  surpassed  by  anything  during  the  concert,  or  indeed 
during  the  Festival.  He  has  the  most  perfect  command  of  his 
instrument,  and  his  performances  are  spirited  and  effective  in 
the  highest  degree.  There  are  better  voices  than  his,  but  in- 
deed there  is  no  better  singer  than  Signor  Belletti.  The  en- 
core which  followed  this  song,  was  given  with  a  decision  not  to 
be  misunderstood.  The  Coronation  March,  Meyerbeer,  was 
played  in  a  most  spirited  manner ;  and  performers  and  hearers, 
fatigued  with  the  day's  work,  went  home  to  seek  for 

"  Tired  Nature's  sweet  restorer." 

Thursday. — It  was  a  charming  morning ;  the  sun  shone  out 
pleasantly,  and  it  was  neither  too  hot  nor  too  cold.  We  took 
a  little  walk  round  this  old  town  before  the  Concert  time. 
Many  of  its  streets  are  very  narrow,  only  wide  enough  for  a 
single  carriage,  having  sidewalks  also  so  narrow  that  two  per- 
sons cannot  walk  abreast.  By  mere  accident  we  happened  to 
call  in  at  the  Book  or  Stationery  Store  of  Mr.  Bacon,  formerly 
the  Editor  of  the  Quarterly  Musical  Review,  ten  or  twelve 


NORWICH   FESTIVAL.  271 

volumes  of  which  were  completed  about  sixteen  years  ago, 
when  the  work  ceased  with  the  Editor's  life.  It  was  the  most 
able  musical  review  ever  published  in  England,  and  it  is  now 
very  difficult  to  procure  a  copy.  Bacon's  -  Vocal  Elements," 
is  also  a  very  valuable  work,  well  known  here,  though  never  re- 
printed in  America.  The  establishment  is  now  carried  on  by 
his  son,  who  is  also  an  able  musical  critic,  and  occasionally 
writes  for  some  of  the  London  papers. 

The  Hall  was  well  fdled  this  morning ;  the  new  Oratorio, 
"Jerusalem,"  was  the  more  attractive  from  the  fact  that  its 
author  is  well  known,  having  resided  here,  as  we  were  told,  for 
some  time  past,  attending  the  rehearsals  and  making  the  neces- 
sary preparation  for  the  production  of  his  work.  Mr.  Pierson 
is  an  Englishman,  although  he  has  heretofore  assumed  a  German 
name  as  an  author,  having  published  several  things  under  the 
name  of  Mansfeldt,  and  especially  an  opera  at  Hamburg.  We 
have  known  of  such  things  in  our  own  country — that  is,  the 
publishing  under  an  assumed  name,  for  the  apparent  purpose 
of  obtaining  popularity,  but  it  is  an  attempt  at  deception,  and 
is  dishonest.  Let  a  man,  if  he  pleases,  publish  anonymously, 
or  assume  a  name  that  everybody  knows  to  be  assumed,  (like 
Peter  Parley,  for  example,)  but  let  him  not  take  a  name  for  the 
purpose  of  leading  the  public  to  suppose  that  his  own  composi- 
tion^ are  the  productions  of  some  great  man,  whose  name  is  too 
difficult  to  be  pronounced.  Mr.  Pierson  was  appointed  pro- 
fessor  of  music  in  the  University  of  Edinburgh,  but  resigned  in 
consequence  of  some  difficulties,  after  holding  the  office  only  for 
a  abort  time.  He  is  a  clever  musician,  though  not  equal  to  the 
task  he  has  undertaken.  We  have  not  seen  the  score  of  Jeru- 
safes*,  and  only  judge  of  it  by  a  single  hearing.  It  is  very 
difficult  both  in  its  vocal  and  instrumental  parts,  but  to  us  it 
seemed  to  be  without  form  and  void,  and  darkness  rested  upon 


272  NORWICH  FESTIVAL. 

the  face  of  it  throughout.     We  copy  from  the  programme  the 
following  argument : 

PART  I. 
Introduction  of  prologue.     Christ  foretells  the  destruction  of  Jerusalem. 
The  crucifixion.     Prophecy  of  Moses  concerning  the  invasion  and  conquest 
of  Judea  by  the  Romans.     Prophetic  warnings  and  denunciations,  chiefly 
from  Isaiah  and  Jeremiah.     The  fall  of  Jerusalem  depicted. 

PART  II. 

The  destruction  lamented,  the  restoration  promised. 

PART  III. 

Prophecies  concerning  the  recall  of  the  Jews  from  all  countries  where 
they  are  now  living  in  a  state  of  exile.  The  great  battle  of  Armegged- 
don  (in  "  the  valley  of  Decision"),  which  will  end  in  the  total  defeat  of 
the  armies  attacking  Jerusalem. 

"  The  new  Jerusalem.  The  last  Judgment.  The  salvation  of  the 
righteous.     Doxology." 

The  introduction  or  prologue  is  preceded  by  an  overture  con- 
sisting of  a  Maestoso  Larghetto  minor  movement,  an  allegro, 
and  a  repetition  of  a  part  of  the  first  movement,  with  different 
treatment.  But  it  is  not  like  an  overture ;  it  is  constantly 
promising,  but  it  never  performs  ;  bold  in  modulation,  beauti- 
ful, occasionally,  in  instrumentation,  it  seems  to  be  destitute  of 
plan  or  design — except,  indeed,  it  be  the  design  of  not  having 
any  plan,  or  of  being  different  from  any  one  else.  The  drums 
and  trumpets  may  tell  of  the  exposure  and  danger  of  the 
favored  city,  or  of  coming  war,  but  beyond  this  we  could  not 
interpret,  and  the  whole  overture  seemed  to  be  dry  and  unin- 
teresting. The  introduction  commences  with  an  Arioso,  "  And 
Jesus  said,  Daughters  of  Jerusalem,  weep  not  for  me,"  &c. ; 
which  was  well  sung  by  the  excellent  tenor,  Mr.  Loekey ;  but 
he  seemed  like  one  wandering  about  in  darkness,  not  knowing 


NORWICH   FESTIVAL.  273 

whither  he  was  going.  After  the  lament  of  the  Saviour  over 
Jerusalem,  uO  Jerusalem  !  if  thou  hadst  known  it,"  we  have 
a  short  chorus-recitative  "And  Moses  spake  unto  all  Israel,"  ecc. 
We  do  not  know  how  the  leader  of  Israel  eame  in  here,  but  as 
Mr.  Pierson  seems  to  set  at  defiance  all  laws  of  rhythm,  so  for 
aught  we  know,  he  may  treat  chronology  in  a  similar  way.  The 
introduction  closes  by  an  Aria,  sung  by  Herr  Formes,  "  The 
Lord  shall  bring  a  nation  against  thee  from  far,"  &c,  parts  of 
which  are  certainly  fine,  but  there  is  a  want  of  relation,  or  con- 
sistency, or  decision  of  character,  deeply  felt  throughout.  Part 
I.  commences  with  a  Becii-Arioso,  fragmentary  and  unsatis- 
factory ;  this  leads  to  a  chorus,  "  How  shall  I  pardon  thee  for 
this,  O  Jerusalem  ?"  A  bird  does  not  more  depend  upon  its 
wings  in  flight,  or  a  fish  upon  its  fins  for  a  propelling  power, 
than  our  author  does  upon  the  orchestra  for  effect.  He  does 
not  try  to  do  much  with  the  voices ;  indeed  a  large  part  of  the 
oratorio  cannot  be  regarded  as  vocal  music.  We  do  not  intend 
to  intimate  that,  as  a  general  thing,  the  author  aims  at  any  definite 
effect,  for  all  is  so  vague,  and  wandering,  that  he  cannot  tie  thus 
charged.  A  terzetto  follows  for  three  female  voices,  "  Cry 
aloud,  spare  not,  lift  up  thy  voice  like  a  trumpet," — a  trumpet 
blast,  of  course,  must  be  blown  ;  and  although  we  did  not  like 
the  introduction  of  the  trumpet  into  this  trio,  yet  we  did  like 
the  manner  in  which  the  instrument  was,  and  is  ever,  blown  by 
Mr.  Harper,  jr.,  who  always  seems  to  do  that  which  he  intends. 
A  chorus  follows,  "  The  Lord  saith,"  <kc,  in  some  parts  very 
difficult,  (difficulties  abound  in  Mr.  P.'s  music,)  but  in  no  place 
wry  good.  An  attempt  at  imitation  on  the  words  "I  will 
scatter  them,"  by  difficult  chromatic  harmonies  and  modulations, 
but  in  which  there  was  no  scattering,  unless  it  were  in  the  per- 
formance of  the  music,  brought  to  our  minds  by  contrast,  some 
of  Handel's  scatterings,   in   which,  without    resorting  to  chro- 

12* 


274  NORWICH  FESTIVAL. 

matics,  he  by  the  plain  diatonic  scale  performs  the  work  to 
admiration,  so  that  not  a  man  of  them  is  left.  An  air  to  the 
words,  "  Of  the  rock  that  begat  thee,"  is  very  pleasant,  it 
has  some  connection  and  form,  and  was  charmingly  sung  by 
Madame  Viardot  Garcia. 

In  the  succeeding  Aria,  our  author  wanders  again  in  uncer- 
tainty. A  piece  representing  the  "  March  of  the  Roman  army 
against  Jerusalem"  is  feeble  and  ineffective.  An  air,  "  Blow  ye 
the  trumpet  in  Zion,  and  sound  an  alarm  in  my  holy  moun 
tain,"  is  much  inferior  to  Jackson's  setting  of  the  same  words. 
A  chorus  is  introduced  to  the  words,  "  Arise,  and  let  us  go  by 
night,  let  us  destroy  her  palaces ;"  in  which  there  is  an  absence 
of  all  that  dramatic  character  so  necessary.  How  Mendelssohn 
would  have  set  these  words  !  When  we  listened  to  this  chorus, 
amidst  all  the  uncertainty  and  vagueness  of  the  music,  we 
thought  of  the  answer  of  the  youth  whom  Elijah  sends  to  look 
out  for  rain,  to  the  question,  "  Is  there  anything,"  &c.  "  No, 
nothing."  Mr.  P.  has  produced  a  very  martial  effect  (never 
very  difficult  to  do)  upon  the  words,  "  I  swear  by  myself,  saith 
the  Lord ;"  but  unfortunately  it  is  entirely  out  of  place.  What 
can  be  more  awfully  solemn  than  the  thought  of  God's  swear- 
ing by  himself !  Surely,  if  the  music  should  express  the  emo- 
tions which  the  thought  naturally  excites,  it  must  be  slow,  delib- 
erate, and  perhaps  soft.  This  is  not  the  only  place  in  which 
the  true  feeling  to  be  expressed  seems  to  have  been  entirely 
misapprehended  by  our  author.  In  the  second  part  of  the  ora- 
torio, the  music  to  the  words,  "  Because  of  the  mountain  of  the 
Lord,  which  is  desolate,"  would  be  better  adapted  to  "  Behold 
the  mountain  of  the  Lord,  it  is  beautiful."  A  chorus,  "  O  God, 
the  heathen  are  come  into  thine  inheritance,"  opens  well ;  it  is 
somewhat  like  Mendelssohn,  and  affords  quite  a  relief;  but  it 
soon  changes  from  Mendelssohn  to  Pierson,  and  the  mountain 


NORWICH    FKST1YAL. 

becomes  desolate  indeed.  In  an  Arioso  which  was  sung  by 
Madai ne  Viardot,  but  which  all  her  powers  of  performance 
could  not  render  effective,  the  compo>.  i  have 

mistaken  the  feeling  to  be  expressed.  The  words  are.  ••  ( I  I  - 
thou  hast  destroyed  thyself,  but  in  me  is  thine  help."  Here, 
in-trad  of  expressing  pity,  compassion,  or,  of  mourning 
Israel,  he  has  made  the  orchestral  instruments  to  scold  in  blasts 
most  inappropriate  and  offensive,  A  good  chorus  follows ;  in 
the  latter  part  of  which,  to  the  words,  "Break  forth  into  joy," 
are  some  fine  instrumental  passages  ;  but  here  again  the  open- 
ing of  the  graves  has  been  depicted  by  a  convulsive  effort  of 
the  double  drums.  "  When  shall  the  Lord  go  forth."  in  the 
third  part,  is  a  spirited  and  good  chorus. 

There  is  a  Hallelujah  chorus,  Alleluia,  for  the  Lord  God  Om- 
nipotent reigneth.    This  the  Bishop  ordered  to  a  second  singing, 
probably  for  the  reason  that  Handel's  Hallelujah  is  so  popular. 
Surely,  it  could  not  have  been  because  there  is  any  merit  in  the 
piece  encored.      An  air,  by  Madame  Viardot,  to  the  \ 
God  shall  wipe  away  all  tears  from  their  eyes,  was  the  most 
ular  piece  in  the  Oratorio  ;  it  was  charmingly  done,  and  was 
universally  demanded  a  second  time.    Soft  and  gentle,  it  afford- 
ed a  delightful  relief  from  the  continual   trumpet  blasts  with 
which  the  Oratorio  abounds.     But  in  the  succeeding  Aria,  the 
brass  instruments  are  well  employed  on  the  words  The  sea  gave 
up  their  dead,  &C,     A  chorus  follows  this,  after  the  manner  of 
Mendelssohn's  chorales  in  Paul  and  Elijah  ;  but  instead  of  a 
grand  and  dignified  chorale,  the  author  has  introduced  a  very 
feeble  tune,  composed  by  Dr.  Marian,  called  Jlelmslcy.  and  pub- 
lished in  many  singing  books.     We  were  surprised  that  such  a 
hackneyed    piece   should   have  been   chosen,  in   prefl 
good  chorale,  of  which  there  are  many.     Mr.  P.  has 
it,  however,  (instrumented  it.)  exceedingly  well.     ])ure 


276  NORWICH  FESTIVAL. 

performance  of  this  long  oratorio,  (upwards  of  four  hours,)  we 
often  thought  of  a  simile  we  once  heard  used  by  Hon.  Horace 
Mann,  when  Secretary  of  the  Board  of  Education,  Massachu- 
setts, by  which  he  described  some  public  address  he  had  recent- 
ly heard.  "  It  was,"  said  he,  "  like  a  nest  of  paper-boxes.  We 
take  up  the  nest ;  it  feels  heavy,  and  we  suppose  it  contains 
something  valuable.  We  open  it  carefully,  but  find  another 
box.  We  now  look  with  greater  eagerness  to  ascertain  the 
contents,  and  proceed  to  open  the  second,  when  we  find  only  a 
third  box ;  so  we  go  on  from  box  to  box,  with  continually 
raised  expectations,  until  we  come  to  the  last  box,  open  it,  and 
behold  there  is  nothing  there !"  There  are,  however,  several 
fine  pieces  in  the  oratorio,  some  of  which  we  have  mentioned  ; 
but  as  a  whole,  we  can  hardly  conceive  of  a  greater  failure.  It 
is  surprising  that  the  directors  of  the  Festival  should  have  ad- 
mitted into  their  programme  an  oratorio  so  nearly  destitute  of 
merit.  Many  English  oratorios  have  been  produced  ;  no  one 
so  great  perhaps  as  Palestine  by  Dr.  Crotch,  but  yet,  not  even 
this  ever  attained  any  considerable  degree  of  popularity.  They 
are  born,  speak  once  or  twice  perhaps,  then  die,  are  buried,  and 
soon  forgotten. 

Third  Evening  Concert. — Thursday  Evening. — The  con- 
cert commenced  with  Mozart's  Symphony  in  E  flat ;  and  the 
contrast  between  this  music  and  that  of  the  morning  was  suffi- 
ciently great.  It  was  a  pleasing  change,  indeed,  to  listen  to  the 
simple,  natural  strains  of  the  great  master ;  and  every  one  ap- 
peared to  be  delighted.  After  the  symphony,  Mr.  Sims  Reeves 
sang  a  song,  a  tribute  of  respect  to  the  memory  of  the  late 
Duke  of  Wellington.  Music  by  Mr.  G.  A.  Macfarren.  We 
enclose  the  words,  thinking  they  may  be  interesting  to  your 
readers : 


NORWICH   FESTIVAL.  277 

THE    DEATH    OK    WELLINGTON. 

Gloomy  and  dim  the  eventful  morning  broke, 
P.  -lined  by  Fate  t»>  crush  ■  tyrant  yoke  ; 
The  adverse  ranks  with  martial  ardor  glow, 
And  pant  to  view  the  signal  flag  unfurl'd  ; 
The  rival  chiefs  prepare  to  strike  the  blow — 
France  for  an  Empire  ! — Britain  for  the  world  1 

Fierce  was  the  fight :  the  legions  scorned  to  yield  : 

Conquest  long  hover'd  o'er  the  field, 

Unfix  d  to  whom  'twas  due  ; — 

"While  dauntless  hearts,  the  nation's  pride, 

For  Britain  bled — for  Britain  died — 

Round  Wellington  at  Waterloo. 

At  length  the  foe,  in  prowess  quite  outdone, 
Despairing  fled, 

And  Glory  shone  out  with  radiant  hue. 
"  Cheerly,  my  hearts  !  your  ranks  enlarge, 
Victory  smiles — the  charge  !  the  charge  1" 
Cried  Wellington  at  Waterloo. 

Now,  mourning  o'er  her  fallen  Hero's  bier, 
Grateful  Britannia  drops  a  tear, 
And  counts  his  deeds  anew. 
From  pole  to  pole  his  praises  ring, 
And  angels  yet  unborn  shall  sing 
Of  Wellington  at  Waterloo. 

After  the  song,  the  pieces  mentioned  in  the  following  pro- 
gramme were  performed  : 

PART   I. 

Diirrro.  Madame  Viardot  and  Herr  Formes.     Fidclio Beethoven. 

Vannf."  Madame  FiorentlDJ \t 

Amu,  "  Pre  poop,"  Mr.  Sinn  Eteer<  i Dtmuetti. 

Terzetto,  '•  h>  diro  Be  Del  geetire,"  Mad.  Viardot  Qereia,  Min 

Louisa  Pyne,  and  Signor  Belletti Fi<>r<n-nnti. 


278  NORWICH   FESTIVAL. 

Song,  "  Der  Wanderer,"  Herr  Formes Schubert. 

Romance,  "  Oh,  mon  fils,"  Madame  Yiardot Meyerbeer. 

Coxcertante,  violoncello  and  double-bass,  Herr  Hausmann  and 
Signor  Bottesini. 

Romanza,  "  II  Pescatore,"  Signor  Gardoni Donizetti. 

Part-Song,  "  The  wreath" , Benedict. 

Duetto,  Madame  Fiorentini  and  Mr.  Sims  Reeves.     Ernani Verdi. 

Song,  "  When  midnight's  darkest  veil,"  Mr.  Lockey  ;  corno  ob- 
ligate, Mr.  C.  Harper Lachner. 

Air,  "  By  the  rivers  of  Babylon,"  Miss  Dolby S.  Waley. 

Finale,  Miss  L.  Pyne,  and  chorus,     Lorehj Mendelssohn. 

PART   II. 

Overture,  "  Faniska" Cherubini. 

Air,  "Bravo,  bravo,  il  mio  Belcore,"  Signor  Belletti Donizetti. 

Madrigal — Song,  "  A  poor  simple  maiden,"  Miss  L.  Pyne.  Bal- 
lad, "  Nan  of  Battersea,"  Mr.  Weiss.     Charles  II. Macfarren. 

Trio,  Miss  L.  Pyne,  Miss  Alleyne,  and  Mr.  Lockey.  Don  Gio- 
vanni   Mozart. 

Serenade,  "  Young  Agnes,"  Mr.  Sims  Reeves Auber. 

Scotch  Song,  "  Bonnie  Dundee,"  Miss  Dolby. 

Duetto,  "  Che  vuoi  di  piii,"  Madame  Viardot  Garcia  and  Signor 

Gardoni Donizetti. 

Aria  Espanola,  "  La  calesera,"  Madame  Fiorentiui. 

Grand  March.     Camp  of  Silesia Meyerbeer. 

This  was  throughout  a  very  pleasing  concert,  though  too  long. 
The  Terzetto  by  Madame  Viardot,  Miss  Pyne,  and  Mr.  Belletti, 
called  forth  the  most  enthusiastic  applause.  It  could  not  have 
been  better  done.  Schubert's  Wanderer  was  sung  to  perfection 
by  Herr  Formes.  These  and  others  were  demanded  a  second 
time.  But  the  most  attractive  piece  was  the  finale  to  Mendels- 
sohn's opera,  Lorehj.  This  improves  amazingly  on  a  second 
hearing.  We  were  much  more  pleased  with  it  than  when  we 
heard  it  at  Birmingham.  The  performance  of  it  was  very 
spirited,  and  did  great  credit  to  band,  choir,  and  conductor.    It 


NORWICH   FESTIVAL.  279 

was  warmly  applauded.     But  as  we  are  in  danger  of  too  long 
a  communication,  we  will  only  add,  that  the  large  company 
held  together  from  eight  to  twelve  without  restlessness, 
or  the  indication  of  impatience  or  fatigue. 

Friday  Morning — "  The  Messiah." — It  was  very  pleasing 
to  us  to  have  an  opportunity  of  listening  to  this  great  oratorio 
of  Handel  twice  in  such  close  connection,  performed  as  it  was 
on  both  occasions  (Birmingham  and  Norwich)  by  those  who 
were  so  competent  to  do  it  justice.  The  popularity  of  this  ora- 
torio is  wonderfully  great.  An  hour  previous  to  the  time  ap- 
pointed for  the  commencement  every  seat  and  every  standing- 
place,  (with  the  exception  of  some  of  the  reserved  seats  to 
which  the  occupants  did  not  hasten  at  so  early  an  hour,)  was  oc- 
cupied. So  full  was  the  hall,  that  many  men  climbed  up  and 
obtained  standing-room  in  recesses  of  the  windows  nearly  at  the 
top  of  the  building  outside.  The  hall  presented  a  most  splendid 
appearance.  To  what  shall  be  attributed  this  great  popularity 
of  the  Messiah  ?  It  is  performed  at  every  festival  and  never 
fails  to  sell  every  ticket.  Can  it  be  that  it  is  because  it  is  fully 
appreciated  ?  Is  it  to  be  attributed  to  its  musical  excellence, 
to  its  religious  character,  or  to  fashion  ?  Probably  in  part  to 
each.  It  has  been  performed  so  much  that  it  is  better  under- 
stood than  any  similar  music ;  besides,  Handel's  music  meets 
the  wants  of  all  classes  ;  the  learned  and  the  unlearned  are 
alike  gratified  in  its  performance ;  those  who  have  made  the 
greatest  progress  in  art  and  science  find  enough  in  Handel  to 
fill  their  minds  and  to  draw  out  their  feelings;  and.  like  the 
poetry  of  Shakspeare,  it  so  delineates  human  nature,  or 
conformed  to  it,  and  is  so  oommon-sense-like  in  its  character,  that 
it  can  hardly  fail  to  be  appreciated  even  by  a  child.  Handel  is 
natural,  always  so,  and  his  music  is  adapted  to  all  classes  of 


280  NORWICH  FESTIVAL. 

people.  Many,  no  doubt,  are  influenced  by  the  religious 
character  of  the  Messiah.  To  the  religious  man,  this  oratorio 
must  be  religious  in  its  influences  ;  it  falls  in  well  with  the  gen- 
eral religious  education,  training,  or  habits  of  the  English,  es- 
pecially of  church-men,  and  the  text  (all  from  King  James' 
Bible)  is  regarded  as  not  inferior  to  the  Prayer  Book  itself. 
Then  there  is  the  influence  of  habit,  which  has  been  handed 
down  and  grown  stronger  from  generation  to  generation. 
Fathers  tell  their  sons  of  Handel's  Messiah  with  a  kind  of  re- 
ligious, national  pride.  Children  are  taught  to  regard  it"  as  the 
greatest  musical  production  the  world  has  ever  seen ;  it  is  also 
English,  for  although  Handel  was  a  German  by  birth,  yet  he 
became  an  Englishman  by  adoption,  and  produced  all  his  great 
works  here.  It  is  the  fashion  also  to  hear  it  and  to  like  it. 
Everybody  must  hear  it,  and  everybody  must  like  it.  Nor  is 
a  single  hearing  sufficient ;  it  must  be  heard  from  year  to  year, 
or  as  opportunity  may  occur,  and  of  course  the  more  it  is  heard 
the  more  it  is  admired,  as  is  the  case  with  every  work  which  is 
at  once  based  upon  truly  scientific  principles,  and  adapted  to  the 
truth  or  nature  of  man. 

Mr.  Benedict  took  his  place  two  or  three  minutes  before  the 
appointed  time  of  commencement ;  he  was  received  with  a 
cheering  welcome,  both  from  the  audience  and  from  the  perform- 
ers— an  indication  that  all  is  right,  that  good  feeling  abounds, 
and  that  a  good  result  may  be  looked  for.  With  what  majesty 
and  dignity  the  overture  commenced !  Every  man  in  the  or- 
chestra did  his  duty,  and  the  effect  was  much  heightened  by  the 
full  diapasons  of  the  organ,  and  especially  by  the  sub-bass.  The 
organ  was  not  permitted  in  Birmingham,  but  it  was  a  great  mis- 
take. It  gives  a  fullness  to  the  harmony,  and  is  from  associa- 
tion peculiarly  religious  in  its  character.  It  would  not  be  ap- 
propriate in  Covent  Garden,  at  Her  Majesty's  Theatre,  or  on 


XORWICn   FESTIVAL.  281 

any  operatic  performance ;  but  it  is  well  fitted  for  such  an  ac- 
casion  as  this,  and  Mr.  Benedict  was  right  in  the  application  he 
made  of  its  powers,  Twenty-two  violins  led  off  the  fugue; 
were  answered  by  the  different  stringed  instruments  in 
their  turn,  all  moving  with  as  much  certainty  and  precision,  as 
do  the  planets  in  their  revolutions  round  the  sun.  The  time 
was  a  little  slower  than  at  Birmingham,  and  the  effect  was  much 
the  better  for  it.  The  bows  drew  forth  a  rich  volume  of  sound 
from  the  strings,  most  admirable  in  its  consequences,  and  the 
whole  overture  was  worthy  of  Handel  and  of  his  Messiah. 
Comfort  ye  was  sung  by  Gardoni.  We  were  more  pleased  with 
Mr.  Sims  Reeves  on  the  whole,  in  this  recitative,  and  in  the  air ; 
though  the  vocalization  of  Signor  Gardoni  was  more  clear  or 
articulate.  The  leading  off  of  the  first  chorus  produced  a  some- 
what unpleasant  feeling,  for  the  tones  of  the  men  in  alto  struck 
hard  upon  the  nerves,  and  musical  taste  was  wounded  in  the 
house  of  its  friends ;  but  it  soon  recovered,  as  the  parts  came  in 
and  melted  down  the  severe  altos  into  one  common  mass  of 
sound.  Elsewhere,  too,  some  suffering  was  produced  by  this 
austere,  cutting  severity  of  the  alto.  Let  men  sing  the  tenor, 
and  let  the  lower  voices  of  females  sing  alto  ;  so  shall  this  part 
have  all  the  strength  and  firmness  required,  and  yet  be  gentle, 
civil  and  kind  in  its  approaches.  The  chorus  wras  carried 
through  in  perfect  time,  slow  and  sure.  The  recitative.  Tints 
saith  the  Lord  of  Hosts,  and  the  following  air,  which  were  by  a 
female  alto  voice  at  Birmingham,  were  here  sung  by  Signor 
Bcllctti.  It  m  not  necessary  to  say  that  he  sung  them  in  excel- 
lent spirit  and  taste,  for  he  has  been  heard  in  the  same  ami 
other  pieees  in  the  Messiah  in  New  York.  The  chorus,  For  Ito 
shall  purify^  was  carried  through  with  the  greatest  accuracy, 
and  what  is  remarkable,  the  vocalizing  passages  here  and  in 
other  choruses,  were  well  done.     Miss  Dolby  sang,  Behold !  a 


282  NORWICH  FESTIVAL. 

virgin  shall  conceive,  and  0  thou  that  tellest.  We  cannot  help 
remarking  upon  the  most  becoming  appearance  of  the  singer. 
She  looked  like  one  in  earnest,  as  if  she  were  really  making 
these  great  declarations,  and  was  wholly  absorbed  not  in  the 
music,  but  in  them.  The  voice,  the  countenance,  and  the  whole 
demeanor  seemed  to  correspond,  and  all  seemed  to  say  that  his 
name  shall  be,  Emanuel,  God  with  us.  During  the  following 
chorus,  too,  she  stood  with  the  majesty  and  dignity  of  a  Minis- 
ter of  State,  (though  always  with  a  modesty  becoming  her  sex,) 
singing  Arise,  shine  for  thy  light  is  come,  and  the  glory  of  the 
Lord  is  risen  upon  thee.  This  beautiful  deportment  on  the  part 
of  Miss  Dolby,  was  not  carried  out  on  the  part  of  the  choir, 
amongst  whom  there  were  some  laughing  and  talking,  and  ap- 
parent congratulations,  as  soon  as  the  chorus  was  over,  which 
seemed  to  say,  we  have  done  well.  If  vanity  must  reign,  if  it 
cannot  be  subdued,  do,  singers,  let  us  try  and  veil  it  for  a  mo- 
ment, at  least,  during  such  a  performance  as  this.  Herr  Formes 
sang  (as  at  Birmingham)  the  next  recitative  and  air ;  more  need 
not  be  said.  The  chorus,  For  unto  us,  was  much  better  at  Nor- 
wich than  at  Birmingham.  It  was  led  off,  not  Pianissimo,  but 
perhaps,  Mezzo  Piano,  and  there  was  a  gradual  crescendo  all  the 
way  to  the  fortissimo  on  the  word  "  wonderful."  The  great 
contrast  made  at  Birmingham  seemed  like  a  kind  of  trifling. 
Handel  has  provided  sufficiently  for  the  grand  climax  in  a 
contrapuntal  way,  and  although  the  soft  and  loud  are  important, 
yet  they  must  not  be  carried  too  far.  The  organ,  notwithstand- 
ing the  tardiness  of  its  vibrations,  greatly  added  «to  the  magni- 
ficence of  this  chorus.  The  people  stood  during  its  performance. 
During  the  pastoral  symphony,  which  was  finely  played,  there 
was  a  general  whispering  and  talking  over  the  room ;  the  singing 
had  kept  the  people  silent,  and  now  that  the  music  was  merely 
instrumental,  they  felt  at  liberty  to  communicate  their  delights 


NORWICH  FESTIVAL.  283 

one  to  another.  The  organ  was  very  effective  in  its  holding- 
notes  in  this  piece.  The  angel  came,  in  the  human  form  of  Miss 
Louisa  Pvne  ;  she  hushed  the  noise  of  the  great  assembly  as  she 
told  that  There  icere  sheperds  abiding  in  (he  field.  She  spoke 
well,  indeed  she  did ;  yet  Madame  Clara  Novello's  delivery  of 
the  same  and  the  following  recitations  was  ringing  in  the  ear  to 
her  disadvantage.  The  chorus,  His  yoke  is  easy,  was  too  heavy. 
This  chorus  should  float  in  the  air ;  it  should  not  sink  down  to 
the  earth.  It  should  be  light,  buoyant,  spiritual,  not  subjected 
to  the  laws  of  gravitation.  Although  we  should  not  dare  to  say 
it.  lest  we  might  be  regarded  as  musically  heretical,  yet  we 
could  not  like  Mozart's  Trombones  in  this  chorus. 

"  Behold  the  Lamb  of  God,"  went  well  as  to  time,  but  the 
voices  were  not  kept  down  to  mezzo  piano  as  they  ought  to 
have  been,  nor  were  the  crescendo  and  the  diminuendo  (so  im- 
portant in  this  chorus)  well  observed.  Miss  Dolby  sang  very 
effectively,  He  was  rejected  and  despised  of  men — yet  it  had  not 
so  much  the  appearance  of  singing  as  of  impressing  the  senti- 
ment by  the  power  of  vocal  utterance.  The  chorus,  Surely  He 
hath  borne  our  griefs,  was  sung  much  better  than  at  the  Bir- 
mingham Festival,  because  of  the  time,  which  was  considerably 
slower;  so  also,  And  loith  his  stripes  we  are  healed,  and  the 
following,  All  ice  like  sheep,  each  of  which  were  given  in  a  more 
steady,  firm,  and  lofty  manner.  The  grand  chorus  in  C  minor, 
He  trusted  in  God,  was  most  gloriously  sung — time  considerably 
slower  than  at  Birmingham.  The  recitative,  Thy  Rebuke,  and 
the  air,  Behold  and  see.  were  by  Mr.  Sims  Reeves.  The  air 
especially,  was  given  with  great  tenderness,  ami  with  deeply 
sympathizing  tones  and  manner;  touching,  indeed,  was  the 
utterance  of  the  last  wnnls.  like  unto  his  sorrow.  In  the  chorus, 
The  Lord  gave  the  word,  the  men's  rough  alto  was  like  a  saw- 
mill, when  the  saw  strikes  a  nail ;  how  can  this  terrible  grating 


284  NORWICH  FESTIVAL. 

be  tolerated  ?  The  first  part  of  the  chorus,  Their  sound  is  gone 
out,  was  sung  by  four  voices,  and  although  the  voices  were 
perfect,  yet  the  chorus  was  very  much  injured  by  the  change. 
Here  again  Handel  has  made  all  the  provisions  for  soft  and  loud 
required,  and  the  chorus  is  vastly  better  when  sung  according 
to  his  intention.  Signor  Belletti  sang,  Why  do  the  nations,  and 
notwithstanding  the  great  superiority  of  Herr  Formes'  voice, 
we  think  Belletti's  performance  the  better  of  the  two ;  his  vocal- 
ization is  perfect,  like  a  good  touch  upon  the  Piano  Forte ;  there 
is  none  better.  Mr.  Sims  Reeves  sang,  Thou  shalt  break  them, 
vastly  better  than  Signor  Tamberlik,  yet  we  were  not  satisfied 
with  its  performance.  We  have  heard  this  air,  which  Braham 
has  made  so  famous,  much  injured  by  a  mighty  effort  on  the 
word  "jlash."  Mr.  Reeves  made  no  violent  attack  upon  this 
word ;  his  effort  rather  was  to  give  a  proper  character  to  the 
whole  song,  and  not  to  depend  so  much  upon  the  utterance  of  a 
single  Avord.  This  was  certainly  in  good  taste.  And  now  came 
the  Hallelujah — the  time  could  not  have  been  better  ;  Mr.  Ben- 
edict's time  in  Handel  is  always  without  fault.  The  alto  was 
again  harsh  on  the  passage  by  treble  and  alto  in  unison  on,  A 
King  of  Kings  and  Lord  of  Lords,  but  the  chorus  told  admirably. 
Madame  Viardot  Garcia  sang,  "  /  know  that  my  Redeemer 
liveth;'"  it  was  transposed  to  accommodate  her  voice,  but  this 
was  abundantly  atoned  for  by  the  deep,  appropriate  emotion 
with  which  it  was  sung.  Madame  Viardot  would  excel  in  a 
song  of  this  general  character  were  it  a  Mezzo  Soprano,  or 
adapted  to  her  voice ;  for  she  sings  with  a  pathos  and  tender- 
ness of  feeling  unheard,  unfelt  elsewhere.  But  "  i"  know  that 
my  Redeemer  liveth,''''  as  it  stands,  is  beyond  her  reach.  We 
have  never  yet  heard  justice  done  to  this  song.  It  requires  a 
great  voice,  a  great  heart,  and  a  finished  singer.  We  need  not 
particularize  other  pieces.    The  whole  oratorio  was  sung,  without 


NORWICH   FESTIVAL.  285 

omission,  and  although  we  think  it  may  be  better  to  abridge 
ordinarily,  it  was  not  now  too  long. 

The  closing  "  Amen"  chorus,  was  given  in  slower  time  than 
we  have  usually  heard  it,  and  of  course,  as  it  was  perfectly 
sustained  throughout,  carried  with  it  great  dignity  and  grandeur; 
it  was  like  the  rush  of  mighty  waters,  and  towards  the  close, 
where  the  most  remarkable  contrapuntal  passages  occur,  it  was 
like  the  meeting  of  many  seas.  What  an  astonishing  chorus  is 
this !  We  must  not  omit  to  speak  of  the  first  violin  passage  in 
this  chorus,  leading  off  the  principal  subject  in  simple  unison. 
It  was  a  most  beautiful  thought  of  Handel,  and  on  this  occasion 
the  passage  was  performed  by  twenty-two  violins,  all  blending 
so  as  to  form  a  perfect  chorus,  and  given  with  a  stability,  com- 
pactness, solidity,  and  determination  which  cannot  be  expressed 
in  words,  and  can  only  be  imagined  by  those  who  have  heard 
like  effects.  Great  is  Handel's  oratorio  of  the  Messiah  !  Great 
in  its  wonderful  and  soul-stirring  themes !  Great  in  musical 
inspiration !  Great  in  its  moral  power !  Ye  choirs  who  seek 
for  music  of  a  high  order  in  the  oratorio  form,  purchase  Han- 
del's Messiah  !  There  is  nothing  on  earth  like  it !  Be  not 
satisfied  with  anything  short  of  this !  Study  the  sublime  cho- 
ruses ;  take  the  easier  first,  as,  And  the  glory  of  the  Lord,  The 
Lord  gave  the  Word,  and  For  unto  us  a  child  is  born.  Then 
the  Hallelujah,  Worthy  is  the  Lamb,  and  Amen,  will  soon  follow  ; 
and  also  those  which  are  still  more  difficult,  as,  And  he  shall 
purify.  Surely  he  hath  borne  our  griefs,  Behold  the  Lamb  of  God, 
and  others.  The  music  is  indeed  difficult,  it  cannot  be  performed 
without  labor,  but  the  labor  bestowed  will  lie  productive  of 
rich  reward.  Instruments,  too,  are  essential ;  but  when  or 
chestral  instruments  cannot  be  obtained,  even  a  quartet  of 
strings  will  help  along  very  much.  Or  a  piano  forte  (if  it  be  a 
piano  forte)  may  furnish  a  satisfactory  accompaniment,  but  it 


286  MOORFIELDS. 

must  be  in  tune,  and  there  must  be  some  one  to  play  it.  Such 
practice  as  Handel's  choruses  will  promote  a  healthy  musical 
growth,  general  improvement,  and  good  taste.  It  will  render 
insipid  much  other  music,  contained  in  the  tune-books,  but  it  will 
lead  to  discrimination,  and  a  psalm-tune  which  is  at  once  based 
on  true  philosophy,  and  is  yet  so  simple  in  its  structure  as  to 
meet  the  wants  of  the  people,  will  never  suffer  by  being  brought 
into  close  connection  with  Handel  or  Mendelssohn.  The  Old 
Hundredth,  York,  and  Dundee,  will  live  as  long  as  anything 
that  Handel  has  ever  written ;  and  although  an  acquaintance 
with  Handel  will  certainly  occasion  a  very  large  part  of  modern 
psalmody  to  appear  insipid,  foolish,  or  disgusting,  tunes  of  the 
character  of  those  above  mentioned  will  stand  firm  and  un- 
moved, and  will  be  taken  up  after  an  hour  with  music  of  a 
higher  scientific  character,  with  new  relish  and  increased  delight. 


LETTER   XLVII. 


The  Tabernacle,  Moorfields,  Finsbury— Wickliffe  Chapel,  Commercial  Road,  East- 
Rev.  Dr.  Reed. 

London,  October,  1852. 

We  attended  the  Tabernacle,  Moorfields,  in  the  morning. 
It  is  a  large  building,  something  like  the  Tabernacle  in  New- 
York,  though  incapable  of  seating  so  many  persons.  White- 
field  formerly  preached  here,  and  it  was  here  that  Mr.  Finney, 
of  Oberlin,  preached  to  multitudes  of  people  about  two  years 
since.  It  is  not  always  easy  to  obtain  a  seat  in  these  houses 
of  worship,  so  I  went  in  and  inquired  of  the  sexton  if  he  knew 
Rev.  Mr.  Finney  from  America.  "  Oh  yes !"  was  the  reply. 
"  Well  then,"  I  said,  "  I  wish  you  to  give  me  a  seat  on  his  ac- 


WICKLIFFE   CHAPEL.  287 

count,  for  I  am  an  American,  and  know  him  well."  Of  course 
he  took  me  into  one  of  the  high  places,  if,  indeed,  there  are  any 
such  places  there.  Rev.  Mr.  Campbell,  well  known  by  his  va- 
rious publications,  and  especially  by  his  Hymn  Book,  was  un- 
well, and  did  not  officiate.  He  was  present,  however,  and  took 
his  seat  in  front  of  the  pulpit,  in  the  seat  usually  occupied  by 
the  Precentor.  A  young  man  occupied  the  pulpit,  and  almost, 
as  a  matter  of  course,  we  had  a  doctrinal  sermon.  Dr.  Camp- 
bell added  a  few  words  at  the  close.  The  singing  was  led  from 
the  gallery  back  of  the  preacher  by  a  Precentor,  who  seemed 
to  have  around  him  a  few  men-singers  and  women-singers  whom 
he  called,  perhaps,  a  choir ;  but  there  was  no  choir-effect,  nor 
was  the  Congregational  singing  as  good  as  it  is  in  most  churches. 
The  lines  of  the  hymns  were  read  two  by  two,  previous  to 
singing,  as  is  the  custom  in  many  of  the  churches.  The  tunes 
were  bad.     For  example,  a  hymn  beginning, 

"  As  the  dew  from  heaven  distilling, 
Gently  on  the  grass  descends,"  etc., 

was  sung  to  Haydn's  "  God  save  the  Emperor,"  or  rather  that 
tune  was  attempted,  for  it  is  not  proper  to  say  that  it  was  sung. 
In  the  evening  we  went  to  the  Wiekliffc  Chapel,  Commercial 
Road,  East,  Rev.  Andrew  Reed,  D.D.,  pastor.  Dr.  Reed  was 
in  America  several  years  since,  in  company  with  Mr.  Mathc- 
son,  now  no  more.  In  the  singing  exercises,  the  hymn  was  lined 
(>'it.  The  choir  (so  called)  consisted  of  several  men  who  occu- 
pied a  square  pew  in  front  of  the  pulpit.  The  first  tunr  was 
Dr.  Arnold's  "Wareham,  abridged;  the  second  was  French 
(Dundee),  and  the  third  I  knew  not.  but  it  was  unfit  for  Con- 
gregational 086,  as  it  went  up  to  G  and  dwelt  there  coiiMilcra- 
bly.     No  small  eilbrt  was  made  by  good  people  around  me  to 


288  REV.   ANDREW   REED,    D.D. 

reach  the  lofty  eminence,  but  in  vain ;  most  voices  fell  short 
of  the  pitch,  and  vibrations  inharmonious  followed.  The  hymn 
was  that  beginning, 

"  No  more,  my  God,  I  boast  no  more, 
Of  all  the  duties  I  have  done." 

The  tune  Hamburg,  in  the  key  of  E  flat,  would  have  suited  it 
exactly. 

The  text  was,  "  But  now  ye  have  no  cloak  for  your  sins."  It 
was  most  faithful,  and  seemed  to  flow  out  of  a  heart  filled  with 
love.  No  abstract,  scientific,  theological  discussion,  as  in  the 
morning,  but  it  was  the  language  of  an  affectionate  parent,  en- 
treating his  children,  and  urging  them  to  the  paths  of  truth  and 
virtue. 

We  have  no  cloak  for  our  sins,  first,  because  we  live  under 
so  gracious  a  dispensation  of  mercy. 

Second,  because  of  the  land  of  liberty  and  of  privileges  in 
which  we  dwell.  "  Is  there,"  said  the  preacher,  "  under  the  sun 
a  land  where  the  gospel  is  so  freely  and  so  fully  preached  ? 
Indeed,  we  are  highly  distinguished  above  all  others.  Relig- 
ious privileges  are  nowhere  so  abundant  and  accessible  to  all 
as  here.  Who  may  not  enjoy  them  ?  The  exertions  in  the 
cause  of  Christian  benevolence  are  greater  here  than  anywhere 
else.  Schools,  from  the  infant  school  upward,  are  also  more 
abundant."  "  You  are  a  Briton,"  said  Dr.  Reed,  "  and  you 
glory  in  your  name ;  be  sure  that  you  always  associate  this 
with  the  religious  advantages  which  your  country  affords." 
"Sabbaths  are  better  observed,  and  religious  knowledge 
abounds.  Is  it  nothing  to  live  in  such  a  land  as  this  ?  Is  it 
nothing  to  enjoy  these  Sabbaths'?  Is  it  nothing  that  we 
enjoy  these  houses  of  worship  1  these  songs  of  praise  1  these 
rehearsals  by  which  we  may  be  prepared  for  the  music  of 


REV.   ANDREW   REED,    D.D.  289 

the  heavenly  choir  V  He  alluded,  in  this  connection,  in  a 
very  tender  and  appropriate  manner  to  his  own  preaching 
among  his  people,  saying  that  he  never  allowed  himself  to  come 
into  the  pulpit  without  attempting  faithfully  and  affectionately 
to  point  out  to  his  hearers  the  way  of  salvation.  There  were 
other  heads  of  discourse,  which  do  not  now  occur  to  us.  He 
closed  with  a  most  earnest  appeal  to  his  hearers  not  to  attempt 
to  cloak  their  sins,  but  to  forsake  them  at  once,  and  find  deliv- 
erance and  salvation. 

Dr.  Reed's  manner  is  that  of  a  tender  parent ;  it  contrasted 
strongly  with  that  of  the  young  man  we  heard  in  the  morning. 
He  was  sometimes  extravagant  in  his  language,  and  his  manner 
seems  to  be  adapted  rather  to  drive  than  to  invite,  encourage, 
and  lead  one  along  ;  there  was  a  severity  about  it,  forbidding, 
more  apt  to  be  found  in  a  young  man  having  great  confidence 
in  what  he  has  learned  in  the  seminary,  than  in  one  who  seems 
to  depend  less  upon  the  knowledge  which  he  acquired  at  school 
than  upon  the  wisdom  which  he  has  derived  from  experience. 
Dr.  Reed's  manner  was  all  tender,  gentle,  affectionate ;  the 
spirit  he  seemed  to  manifest  was  that  of  love ;  such  a  spirit, 
who  can  resist  1  His  manner  of  speech  was  also  excellent ;  his 
voice  is  soft,  yet  every  word  was  so  distinctly  uttered  that  it 
was  heard  throughout  the  house.  We  have  heard  sermons  that 
would  be  called  greater  than  Dr.  Reed's,  evincing,  perhaps, 
deeper  thought  or  stronger  intellect ;  but  we  have  not  heard  a 
finer  pulpit  exercise  than  on  this  occasion.  What  a  sympathy 
is  between  a  faithful  and  affectionate  manner  in  the 
preacher,  a  preacher  throwing  out  his  heart  and  entreating  his 
hearers  to  reconciliation  and  Zion's  songs?  When  with  such 
preaching  the  organ,  the  choir,  the  people,  the  hymn,  and  the 
tune  all  sympathize,  Zion  is  beautiful,  the  joy  of  all  who  dwelt 
therein.     Mount  Zion  rejoices,  and  the  daughters  of  Jerusalem 

18 


f 
290  MORAVIAN   CHURCH. 

are  glad ;  they  walk  about  Zion,  they  mark  her  bulwarks,  and 
consider  her  palaces,  that  they  may  sing  to  following  genera- 
tions— "  This  God  is  our  God,  he  will  be  our  guide  even  unto 
death." 

In  going  to  and  coming  from  church  to-day,  we  have  traveled 
upwards  of  ten  miles. 


LETTER    XLVIII. 


Moravian  Church— Baptist  Chapel,  Lyon-street— Singing  in  Rev.  Mr.  Brock's  Church. 

London,  October,  1852. 

We  attended  the  Moravian  church  with  the  expectation  of 
finding  a  cultivated  state  of  psalmody,  with  perhaps  motets, 
chants  and  anthems.  We  have  long  known  of  the  musical  works 
and  efforts  of  Rev.  Mr.  Latrobe,  Moravian  minister,  whose  six 
volumes  of  Church  music  are  very  valuable,  and  also  something 
of  his  son,  who  is  the  author  of  the  very  valuable  volume 
known  as  "  Latrobe  on  Church  Music."  But  the  glory  has  de- 
parted from  the  Moravian  chapel.  The  congregation  was  small, 
and  the  singing  was  drawled  out  very  heavily.  They  have  a 
small  organ,  poorly  played  ;  between  every  line  was  a  transi- 
tion passage,  after  the  manner  of  some  of  the  German  churches. 
There  was  a  small  choir,  but  they  attempted  nothing  further 
than  to  lead  the  congregation.  The  service  was  by  a  liturgy, 
but  the  responses  were  mostly  said  and  not  sung. 

In  the  evening  we  went  to  the  "  Zion-street  Chapel,"  Wal- 
worth. This  is  a  Baptist  chapel ;  the  pastor  was  absent,  and  a 
young  man,  a  student,  filled  his  place.  As  a  matter  to  be  ex- 
pected in  such  a  case,  there  seemed  to  be  some  attempt  at 


THE   PRECENTOR.  291 

eloquence ;  we  almost  invariably  see  it  in  a  young  man,  and 
ally  in  a  student.  It  is  often  somewhat  trying  to  listen 
to  the  sermons  of  the  theological  students,  and  so  it  was  on  this 
occasion.  The  hymns  were  given  out  by  the  Precentor,  who 
read  them  badly  enough,  applying  the  same  accent,  or  general 
inflection,  to  each  stanza.  Perhaps  the  following  may  convey 
some  idea  of  his  manner  of  reading  : — Let  the  first  line  be  com- 
menced on  a  high  pitch,  and  let  the  pitch  rise  by  a  slide  grad- 
ually until  a  climax  very  high  is  obtained  by  a  strong  pressure 
tone  and  upward  slide  or  inflection  on  the  last  syllable  but  two ; 
then  a  sudden  slide  down,  still  on  the  same  syllable,  followed 
by  still  another  upward  on  the  last  syllable,  and  this  to  be  ex- 
actly the  same  in  form,  though  differing  a  little  in  force  in  every 
couplet,  or  twice  in  each  stanza : 

How  sweet  the  name  of  Jesus  sounds 

In  a  believer's  ear; 

It  soothes  his  sorrows,  heals  his  wounds, 

And  drives  away  his  fear. 
<>  < 

We  have  seldom  heard  a  hymn  read  in  a  more  mechanical  sing- 
song manner,  or  in  worse  taste.  There  was  no  choir,  and  the 
congregation  generally  joined  in  the  singing.  The  people  were 
all  seated  in  prayer,  and  all  stood  in  singing.  They  all  took 
their  seats  merely  for  the  benediction  after  the  last  singing. 
People  in  our  own  country  are  very  much  troubled  that  the 
custom  of  sitting  in  prayer  should  be  increasing  so  much ;  but 
it  seems  to  prevail  in  a  majority  of  the  churches  here.  We  did 
not  learn  much  in  relation  to  church  music  this  day,  either  in 
the  Moravian  or  Baptist  chapel. 

Rev.  Mr.  Brock  (Baptist)  is  the  minister  of  Bloomsbury 
chapel,  Bloomsbury  street.     He  is  a  very  popular  preacher,  and 


292  BLOOMSBURY   CHAPEL. 

has  a  large  and  flourishing  congregation.  Not  indeed  like  the 
great  German  congregations  where  we  often  see  two  or  three 
thousand  people  assembled  on  a  Sabbath  morning,  but  there 
were  not  less,  we  think,  than  a  thousand  persons  present  at  the 
Bloomsbury  chapel  last  Sunday.  The  church  is  furnished  with 
a  very  good-sized  organ,  though  its  tones  are  harsh,  and  espe- 
cially so  are  the  stops  of  small  pipes,  as  mixture  or  cornet. 
There  is  no  choir,  but  the  singing  is  by  the  people,  and  seems 
to  be  very  general.  There  was  a  chorus  of  many  voices ;  a 
chorus  not  of  musical  attraction,  but  of  religious  edification — 
excellent  and  appropriate.  Chanting  had  been  introduced  into 
this  congregation,  and  is  practised  by  the  whole  collected  as- 
sembly with  much  success.  We  do  not  hesitate  to  say  that  the 
chanting  by  all  the  people  in  Rev.  Mr.  Brock's  church  is  much 
superior  to  any  of  the  cathedral  choir  chanting  which  we  have 
heard.  The  chant  itself  was,  indeed,  unfavorable  to  the  best 
results,  being  the  well-known  Dr.  Dupuis  in  A ;  but  notwith- 
standing the  tune-like  character  of  the  chant,  the  effect  was 
truly  good,  and  seemed  to  furnish  a  most  satisfactory  answer  to 
those  objectors  to  chanting,  who  say  that  it  is  impossible  for  a 
large  congregation  to  chant  together.  The  words  were,  in  gen- 
eral, deliberately  and  well  delivered,  and  with  a  good  degree 
of  simultaneousness  on  the  part  of  the  congregation.  Chanting 
is  practised  in  public  worship  in  many  dissenting  churches  in 
London,  and  in  other  parts  of  the  kingdom.  Indeed,  although 
it  was  introduced  at  an  earlier  period  into  our  New  England 
churches  than  here,  yet  it  seems  to  have  spread  more  here,  and 
to  have  taken  deeper  root.  One  reason  for  this  may  be,  that 
here  it  is  made  a  republican  thing ;  it  is  in  the  hands  of  the 
people,  and  they  like  it.  The  metrical  psalms  were  also  quite 
well  sung,  and  the  great  importance  of  an  organ  in  Congrega- 
tional singing  was  made  very  apparent.     A  custom  in  giving 


WESLEY  AX   CHAPEL.  293 

out  the  hymn  and  tunc  is  singular.  The  minister  first  gives 
out  the  number  of  the  hymn,  and  immediately  afterwards  the 
organist  plays  over  the  tune.  After  this  the  minister,  who 
stands  in  the  pulpit  during  the  playing,  reads  the  hymn,  and  then 
the  singing  follows. 

Mr.  Brock  has  made  a  much-needed  reform  in  relation  to  the 
public  prayer.  He  has  broken  up  the  ever-so-long  prayer,  and 
instead  of  it  has  two  shorter  prayers,  Rev.  Mr.  Binney  of  the 
Weigh  House  chapel  has  done  the  same.  The  devotional  ex- 
ercises occupied  an  hour,  and  the  sermon  that  followed  about 
forty  minutes,  after  which  the  meeting  was  dismissed  by  the 
usual  benediction. 


LETTER    XLIX 


Wesleynn  Chapel,  Cre:it  Queen  Street,  Lincoln's  Inn  Fields— Rev.  Baptist  Noel's  Chapel 
—Lesson  on  Chanting,  by  C.  C.  Spencer— Anecdote — Stoke  Xewington— Dr.  Watts' 
Monument  and  Inscription. 

London,  October,  1859. 

The  Wesleyan  Chapel,  Great  Queen  street,  is  a  large  building 
with  double  galleries.  The  Episcopal  Church  service  is  used, 
as  it  is  in  most  of  the  Wesleyan  congregations.  The  psalms 
road  by  the  minister,  and  intoned  by  the  Precentor  and 
Others  of  the  congregation,  making  a  disagreeable  mixture  of 
speech  and  song.  It  was  so  likewise  with  other  parts  of  the 
service,  Bfl  the  Lord's  Prayer  and  the  Creed.  Four  metrical 
hymns  were  sung,  mostly  to  wretched  tunes,  and  in  a  wretched 
manner.  A  small  choir  of  boys  surrounded  the  Precentor,  but 
there  was  no  organ.  Next  to  me  sat  a  young  man  who  seemed 
to  try  and  do  his  best,  and  the  poor  fellow  would  have  done 


294  CHANTING. 

pretty  well  had  the  tunes  been  adapted  to  the  circumstances ; 
but  wJien  they  went  up  as  high  as  F  or  G,  alas  for  him !  He 
made  the  attempt  indeed,  which  is  better  than  not  to  try  at  all, 
but  he  fell ;  the  leap  was  beyond  his  power.  He  tried  to  take 
the  high  parts  of  the  tune  an  octave  lower  than  the  proper  pitch, 
but  in  these  attempts  he  often  turned  somersets,  though  he  did 
not  always  come  down  upon  his  feet.  It  was  really  pitiable  to 
stand  by  him  and  witness  his  efforts ;  but  yet  the  easier  parts 
of  the  tune  he  would  get  right.  From  this  example,  we  ob- 
tained sufficient  proof  of  what  Congregational  tunes  ought  to  be : 
simple  and  easy,  so  that  they  may  be  within  the  reach  of  all. 
St.  Ann,  Phuvah,  Tallis,  are  good  examples,  (Cantica  Laudis,  p. 
307.)  Yet  they  need  not  all  be  of  this  rhythmic  character; 
Olmutz,  Hamburg,  Marlow,  are  always  good.  Had  one  of 
these  tunes  been  sung  at  the  Wesleyan  Chapel,  the  young  man 
would  have  been  saved  from  many  falls  and  bruises.  In  the 
evening  we  went  to  Rev.  Baptist  Noel's  chapel,  where  one  is 
always  sure  of  edification  from  the  sermon  if  not  from  the  psalms. 
We  have  recently  had  an  opportunity  of  attending  a  lesson 
on  chanting,  given  by  C.  C.  Spencer  to  the  Rev.  Mr.  Brock's 
(Baptist)  congregation.  Mr.  Spencer  is  well  known  as  a  warm 
friend  of  old  psalmody,  and  especially  by  his  "  Explanation  of 
the  Church  Modes."  His  manner  of  chanting  is  good,  quite  a 
different  thing  from  that  of  the  Cathedral  choirs.  The  words 
are  delivered  about  as  fist  as  in  speech,  and  time  in  the  cadences 
is  almost  wholly  disregarded.  His  beau  ideal  seems  to  require 
the  absence  of  all  regular  division  of  time,  or  all  that  which  we 
commonly  call  measured  rhythmic  effect.  He  is  favorable  to 
the  unisonous  singing  of  the  old  church  tunes,  and  the  congre- 
gation tried  some  of  them  under  his  direction  with  good  results. 
I  insert  one  of  these  chants  exactly  as  he  teaches  it,  and  as  the 
people  on  this  occasion  sang  it. 


UNISON  CHANT.  295 


ANCIENT  CHANT— TO  BE  SUNG-  IN  UNISON. 


ADAPTED    BY    C.    C.    SrENCER. 


1.  I  will  extol  thee,  my  |  God,  0  King  ; 
And  I  will  bless  thy  name  for  j  ever  and  ever. 

2.  Every  day  will  I  |  blcss-thee ; 
And  I  will  praise  thy  name  for  |  ever  and  ever. 

3.  Great  ia  the  Lord,  and  greatly  to  be  |  prais-ed ; 
And  his  greatness  is  un  |  seareh-able. 

4.  One  generation  shall  praise  thy  works  to  an  |  o-ther ; 
And  shall  declare  thy  |  migh-ty  acts. 

5.  I  will  speak  of  the  glorious  honor  of  thy  |  majesty  ; 
And  of  thy  |  won-drous  work. 

6.  And  men  shall  speak  of  the  might  of  thy  |  terrible  acts  ; 
And  I  will  declare  thy  J  great-ness. 

*7.  They  shall  abundantly  utter  the  memory  of  thy  great  |  good 

And  shall  sing  of  thy  |  righteous-ness. 
6.  The  Lord  is  gracious  and  full  of  com  |  pas-sion ; 

Slow  to  anger,  and  of  great  |  mer-cy. 
9.  The  Lord  is  |  good  to  all  ; 

Ami  his  tender  mercies  are  over  |  all— bis  works. 

10.  All  thy  works  shall  praise  |  thee,  0  Lord ; 
And  thy  Mints  -hall  I  bless-thee. 

11.  They  shall  sp«;ik  of  the  glory  of  thy  |  king-dom, 
And  |  talk  of  thy  power  ; 

12.  To  make  known  to  the  sons  of  men  his  |  mighty  acts, 
And  the  glorious  majesty  of  his  |  king-dom. 

13.  Thy  kingdom  is  an  eyerlttting  |  king-doin  ; 

And  thy  dominion  emlureth  throughout  all  gene  |  ra-tions. 


296  CHANTING. 

14.  The  Lord  upholdeth  |  all  that  fall ; 

And  raiseth  up  all  those  that  be  |  bow-ed  down. 

15.  The  eyes  of  all  |  wait  upon  thee; 

And  thou  givest  them  their  meat  in  due  |  sea-son. 

16.  Thou  openest  |  thine-haud  ; 

And  satisfiest  the  desire  of  every  |  living  thing. 

17.  The  Lord  is  righteous  in  |  all  his  ways, 
And  holy  |  in  all  his  works. 

18.  My  mouth  shall  speak  the  |  praise  of  the  Lord; 

And  let  all  flesh  bless  his  holy  name  for  ever  and  |  e-ver. 

Mr.  S.  is  giving  a  course  of  lessons  to  Mr.  Brock's  congre- 
gation on  Chanting.  It  is  but  a  few  years  since  we  had  the 
honor  of  introducing  chanting  into  some  of  the  American 
churches  (other  than  Episcopal)  for  the  first  time.  At  that 
time,  perhaps  some  fifteen  or  twenty  years  ago,  chanting  had 
not  been  heard  of  in  a  dissenting  congregation  in  England. 
Now  it  is  common  here  to  hear  a  congregation  chant  a  Psalm. 
And  it  is  often  very  well  done,  much  better  than  we  have  often 
heard  it  by  some  four  or  six  voices.  It  ought  to  be  extended 
among  the  people,  for  its  efficacy  as  a  form  of  Avorship  is  most 
important.  An  anecdote  related  to  me  a  few  days  ago  is  illus- 
trative of  this.  When  chanting  was  first  introduced  into  the 
Weigh  House  chapel,  (Rev.  Mr.  Binney's,)  about  four  years 
since,  it  was  received  with  almost  universal  favor  from  the  first ; 
but  there  was  one  good  old  man  who  made  strong  objection  to 
it ;  it  grieved  him  much  ;  but  as  the  people  were  almost  all  in 
favor  of  it,  he  yielded  in  a  good  Christian  spirit,  looked  on  his 
book  during  the  exercise,  and  tried  to  submit  patiently  to  that 
which  he  could  not  approve.  The  sixty-seventh  Psalm  was, 
and  is,  often  chanted.  Indeed,  they  have  but  very  few  selec- 
tions from  the  Psalms  that  they  use,  nor  have  they  more  than 
two  or  three  chants.     Tallis'  chant  is  the  principal.     The  few 


DR.   WATTS'   MONUMENT.  297 

Psalms  that  they  use,  therefore,  with  the  tunes,  are  well  en- 
graved upon  the  memory  of  the  people.  A  few  weeks  since 
the  old  man  died.  "When  on  his  death-bed.  he  sent  for  his  min- 
ister. Mr.  Binney  immediately  obeyed  the  summons,  and  as 
he  entered  the  sick  chamber  found  the  old  man  on  his  death- 
bed, with  his  Bible  open  before  him,  trying  to  chant  the  sixty- 
seventh  Psalm. 

We  have  lately  had  the  pleasure  of  lecturing  in  several 
churches  on  the  subject  of  Psalmody,  and  among  others,  Rev. 
Mr.  Jefferson's,  Stoke  Newington.  Mr.  Jefferson's  chapel  stands 
right  opposite  to  the  spot  where  Sir  Thomas  Abney  formerly 
lived,  in  whose  hospitable  mansion  Dr.  Watts  for  many  years 
found  a  home.  Although  his  church  was  in  the  city,  he  often 
preached  here,  and  here  he  wrote  many  of  his  beautiful  hymns. 
He  was  buried  in  the  Abney  Park  Cemetery,  and  a  monument 
has  there  been  erected  to  his  memory.  On  the  plinth  on  the 
pedestal  is  the  following  : — 

£ri  ittcmorp 

OF 

ISAAC    WATTS,    D.D.; 

And  in  testimony  of  the  high  and  lasting  esteem 

in  which  his 

Character  and  Writings  are  held  in  the  great  Christian  Community 

by  whom  the  English  language  is  spoken. 

Of  hU  psalms  and  hymns  it  may  be  predicted,  in  his  own  words, 

rn  will  mak- 
'I  la-  j->_\  and  labor  "I  U;< 

He  was  born  at  Southampton,  July  17,  1074, 
and  died  X<>v.  25,  1  T 
After  a  residence  of  36  years  in  the  mansion  of  Sir  Thomas  Abney,  Bart., 
then  standing  on  these  grounds. 

Below  this  is  an  extract  from  Johnson's   Life  of  Wait-.     The 
monument  was  erected  in  September.  1845. 

13" 


298  SACRED   HARMONIC   SOCIETY. 


LETTER    L. 

Sacred  Harmonic  Society— Samson— Christus — Spohr's  Last  Things. 

London,  Jan.  II,  1853. 

In  a  recent  letter,  we  spoke  of  the  different  choral  societies  in 
London.  Public  performances  by  some  one  of  them  are  very 
frequent ;  so  frequent  indeed,  that  we  can  find  time  for  only  now 
and  then  one.  The  first  for  the  season  was  by  the  "  Sacred 
Harmonic  Society,"  under  Mr.  Costa,  and  consisted  of  a  selec- 
tion from  "Samson,"  by  Handel,  Mendelssohn's  "Christus," 
and  "  The  Last  Judgment,"  by  Spohr.  The  death  of  the  illus- 
trious Duke  gave  a  tinge  to  all  the  earlier  concerts,  and  the 
"  Dead  March"  in  Saul  was  in  constant  requisition.  On  the 
present  occasion,  the  selection  from  "Samson"  consisted  of  the 
air,  "  Ye  Sons  of  Israel,"  "  Dead  March,"  and  chorus, 

"  Glorious  hero,  may  thy  grave 
Peace  and  honor  ever  have." 

The  "  Christus"  by  Mendelssohn,  seems  to  be  very  popular, 
both  among  the  singers  and  hearers.  The  chorale,  "  As  bright 
the  Star  of  Morning  gleams,"  one  of  the  best  German  chorales, 
and  one  that  is  very  often  heard  in  their  churches,  is  brought  in 
with  fine  effect  after  the  chorus,  "  There  shall  a  Star  of  Jacob"" 
come  forth."  Mendelssohn  is  always  great  in  such  choruses  as 
"  He  stirreth  up  the  Jews,"  "  Crucify  Him,"  and  others  in  which 
he  depends  mostly  upon  orchestral  effect,  and  in  which  he  car- 
ries out  his  ideas  of  imitation  or  description  with  all  the  powers 
of  modern  instrumentation. 

Spohr's  oratorio  was  well  given,  the  Gresham  Professor  him- 
self being  judge;  for  we  had  the  honor  of  a  seat  by  his  side, 


PROF.   TAYLOR.  299 

and  of  listening  to  his  remarks  during  the  performance.  Mr. 
Taylor  was  the  first  to  bring  out  Spohr  in  England.  "Die 
letzten  Dinge,"  or  -The  Last  Things,"  (which  is  a  much  better 
title  for  the  oratorio  than  the  one  it  now  bears,)  was  composed 
about  twenty-five  years  ago.  It  accidently  came  into  the  hands 
of  Prof.  Taylor,  who  translated  the  words,  and  first  brought  it 
out  at  the  Norwich  Festival  in  1830.  Since  then  it  has  been  a 
standard  oratorio,  and  is  often  performed.  Prof.  Taylor  says : 
"  It  at  once  seized  the  public  attention,  and  commanded  the  ad- 
miration of  the  most  distinguished  professors  of  every  school. 
Its  influences  upon  the  feelings  of  an  audience  has  been  attested 
by  expressions  more  decided  and  unequivocal  than  I  ever  re- 
member to  have  witnessed.  I  speak  not  of  the  admiration 
which  the  musician  derives  from  such  a  display  of  the  power 
and  the  resources  of  his  art,  but  of  the  homage  which  nature, 
though  musically  untutored,  involuntarily  yet  willingly  pays  to 
genius.  The  throbbing  heart,  the  moistening  eye,  the  quivering 
lip,  here  bespeak  the  triumph  of  the  composer."  The  solo  parts 
were  sustained  by  Mrs.  Endersohn,  Miss  Williams,  Mr.  Lockey 
and  Mr.  Phillips. 

We  cannot  enter  into  the  detail  of  this  performance  ;  suffice 
it  to  say,  that  it  afforded  some  of  the  best  specimens  of  solo, 
quartet  and  chorus  singing  which  we  have  ever  heard.  It  was 
performed  with  admirable  promptitude  and  exactness,  as  is 
everything  else  that  is  brought  under  the  baton  of  Mr.  Costa. 


300  ST.   PAUL'S. 

LETTER    LI. 

St.  Paul's  Cathedral— Rev.  Mr.  Brock's. 

The  organist  at  St.  Paul's  is  a  fine  player.  He  played  to- 
day as  well  as  the  canon  read.  He  does  not  let  himself  and  his 
instrument  down  to  mere  merry-making,  or  to  a  concert  man- 
ner ;  but  always  preserves  his  own  dignity  and  that  of  his  in- 
strument, and  so  plays  as  to  promote  the  true  end  of  music  in 
worship.  The  contrast  between  the  organ-playing  of  this  morn- 
ing and  that  which  we  heard  on  the  last  Sabbath,  cannot  be  ex- 
pressed in  words.  It  was  at  a  popular  chapel  attached  to  a 
large  establishment  where  poor  children  are  cared  for  and  pro- 
tected, and  which  is  much  visited  by  strangers  coming  to  Lon- 
don. Here  the  organ-playing  is  frivolous,  light  and  trifling,  we 
had  almost  said,  as  is  Jullien's  Quadrille  Orchestra  in  Drury 
Lane.  It  is  amazing  that  any  one  who  has  musical  knowledge 
should  so  pervert  the  powers  of  his  instrument.  But  yet  the 
organist  has  fine  powers  of  execution ;  he  plays  with  a  rapidity 
of  finger,  with  a  clean  piano-forte  touch,  producing  the  staccato 
with  as  much  distinctness  as  stringed  instruments,  and  at  times 
almost  the  pizzicato.  So  it  was  on  the  occasion  when  we  last 
heard  him,  when  the  song,  "Why  do  the  nations,"  from  the 
Messiah,  with  the  chorus,  "  Let  us  break  their  bands,"  were 
sung  to  an  organ  accompaniment  as  brilliant  almost  as  that  of 
a  grand  orchestra. 

Congregational  chanting  is  very  good  in  some  of  the  non- 
conformist churches ;  it  was  really  excellent  in  Rev.  Mr. 
Brock's  church  this  evening.    The  chant  was  in  unison,  as  follows : 


JES^JEjEESg; 


tJ    f/    Q    o 


REV.   MR.   BROCKS.  301 

Of  course,  the  organist  played  full  harmony.  The  fine  old 
tune,  Tallis,  (Cantica  Laudis,  p.  307,)  was  sung  to  the  23d 
Psalm, 

'•  My  shepherd  will  supply  my  need." 

The  organ  is  very  well  played  by  an  amateur ;  yet  he  has  the 
habit  of  stopping  his  instrument  at  the  end  of  each  stanza,  so  as 
to  break  up  all  flow  of  melody.  We  hardly  know  a  worse 
habit  than  this,  which  wc  have  heard  in  several  places  where  the 
organ  is  used  in  non-conformist  places  of  worship.  An  intro- 
ductory voluntary  was  played,  but  no  afterlude,  or  marching 
the  people  out.  The  congregation  is  always  large  at  this 
church,  almost  every  scat  being  occupied  ;  yet  there  are  no  con- 
gregations of  three  or  five  thousand  people  here,  as  we  find  in 
different  parts  of  Germany. 

We  have  been  recently  more  than  ever  before  convinced  of 
the  necessity  of  simple  harmony  for  Congregational  purposes. 
We  have  seen  attempts  to  introduce,  for  example,  some  of  John 
Sebastian  Bach's  harmony  parts  into  congregations.  Now,  it  is 
well  known  that  Bach  did  not  write  harmony  parts  for  Congre 
gational  singing,  but  for  choir  singing.  In  his  church,  the  St. 
Thomas',  Leipzig,  all  the  people  sing  the  melody,  and  the  parts 
are  sung  (when  sung  at  all)  by  the  choir.  Of  course,  Bach 
wrote  such  difficult  harmonies  as  none  but  a  choir,  and  a  pro- 
sessional  choir  too,  can  sing  well.  Yet  editors  not  knowing 
these  circumstances  have  introduced  these  difficult  harmonies 
into  tune  books  designed  for  Congregational  use.  Congrega- 
tions might  as  well  undertake  to  sing  Beethoven's  Mass  No.  2, 
as  these  chorals,  with  all  sorts  of  complicated  and  difficult  har- 
mony parts.  Oh  that  two  things  in  relation  to  psalmody 
might  lie  understood!  1st.  That  Congregational  singing  cannot 
be  good  unless  the  tunes  are  very  plain   and  easy  ;   and  2d, 


302  HOLLAND. 

That  there  are  plenty  of  such  plain  and  easy  tunes  which  possess 
true  musical  excellence,  and  which  are  in  all  respects  suited  to 
the  wants  of  a  worshipping  assembly. 


LETTER    LII. 

Church  Music  in  Holland— Haarlem  Organ— Leyden— The  Hague— Bells— Hats  on — 
Reading  the  Bible  for  a  Voluntary. 

During  a  recent  tour  through  some  of  the  principal  places  in 
Holland,  we  took  care  to  hear  the  church-singing,  and  to  learn 
what  we  could  of  the  actual  state  of  Psalmody.  As  the  whole 
appearance  of  religious  worship  differs  from  that  of  Germany, 
so  also  does  this  particular  branch  of  it.  It  is  more  like  that 
of  the  Swiss  churches,  or  like  that  of  those  German  churches 
which  border  on  Switzerland,  and  where  the  Reformation  seems 
to  have  left  more  decided  or  clearer  impressions  than  are  gen- 
erally seen  in  Saxony  or  other  German  States.  The  prevailing 
forms  of  worship  are,  so  far  as  we  have  observed,  more  simple 
in  Holland,  or  more  like  those  of  our  New  England  churches. 
Now,  the  more  simple  the  form  of  worship,  the  less,  certainly. 
it  is  adapted  to  anything  like  artistic  display,  if  not  also  to  ar- 
tistic excellence.  As  there  are  no  pictures  and  no  statuary  in 
the  Dutch  churches,  so  there  is  no  artistic  music.  There  are 
no  anthems,  no  motets,  no  solos  or  quartets  ;  there  cannot  be, 
for  there  are  no  choirs.  We  do  not  know  but  there  may  be 
choirs  in  some  of  the  churches  in  Holland,  but  we  did  not  see 
or  hear  of  any. 

Holland  is  the  country  of  bells  ;  and  the  merry  chimes  are 
to  be  heard  hourly,  from  almost  every  church-tower  or  steeple. 


HAARLEM   ORGAN.  303 

It  is  the  country  of  organs  also.  Every  church  is  supplied 
with  keys  and  pipes,  as  a  necessary  part  of  its  furniture.  The 
organs,  too,  are  (many  of  them)  large  and  excellent,  but  are 
only  used  as  an  accompaniment  to  the  chorus  of  the  people. 
Everybody  lias  heard  of  the  Haarlem  Organ.  It  was  for  many 
-  the  largest  in  the  world,  and  is  famed  for  its  size  the 
world  over.  We  thought  it  as  good  as  it  is  great,  and  listened 
to  its  tones  with  delight.  It  is  indeed  very  powerful,  but  its 
full  power  is  seldom  heard,  and  never  in  public  worship.  There 
are  now  several  organs  as  large,  or  larger ;  for  example,  the 
organ  in  the  Town  Hall,  at  Birmingham  ;  but  although  the 
Haarlem  organ  is  now  equaled  in  size,  and  although  various 
improvements  (especially  within  a  few  years  past)  have  been 
made  both  in  action  and  in  pipes,  yet  there  is  not  perhaps  any- 
where to  be  found,  a  more  powerful  chorus  than  that  of  this 
famous  instrument.  Dr.  Burney  took  particular  pains  to  ex- 
amine and  describe  it,  many  years  ago ;  and,  in  his  "  Musical 
Tour  in  Holland,"'  he  gives  the  details  which  have  been  often 
copied  and  published.  The  present  organist  has  fine  execution, 
and  appears  to  understand  well  his  instrument ;  but,  it  is  a  pity 
that,  for  the  sake  of  pleasing  his  company,  and  confirming  his 
hearers  in  a  bad  taste,  he  should  employ  its  noble  powers  in 
battle-piece  and  thunder-storm  representations;  or.  at  least, 
that  these  should  be  made  the  principal  feature  of  his  exhibi- 
There  was  a  large  congregation  the  Sabbath  we  were  in 
Haarlem,  and  all  united  in  great  earnestness  in  the  psalms. 
The  movement  was  wry  slow — very  nearly  twice  as  slow  as  it 
is  common  to  sing  the  Old  Hundredth  in  our  American  churches, 
so  that  the  time  was  easily  described  by  counting  four  to  each 
note,  or  eight  in  a  double  measure.  No  Leading  voice  was 
heard  :  the  organ  alone  seemed  to  lead,  and  yet  the  singing  and 
the  playing  were   BO   nearly  together  that   no  unpleasant  effect 


304  HATS  ON  IN  CHURCH. 

was  produced.  It  is  always  better  that  the  organ  should  lead, 
than  that  a  single  voice  should  be  heard  ahead  of  others  ;  but, 
there  is,  indeed,  no  necessity  for  either,  even  in  Congregational 
singing,  and  the  idea  that  a  single  voice  should  lead  a  choir  by 
being  always  a  little  in  advance  in  time,  is  so  entirely  at  vari- 
ance with  good  taste  that  it  is  not  to  be  tolerated.  The  singing 
was  in  unison,  and  the  tunes  seemed  to  be  perfectly  familiar. 
The  tune  was  not  played  over  upon  the  organ  before  the  sing- 
ing, but  the  organist  played  only  a  prelude  of  a  few  measures, 
when  all  the  people  joined  at  once  in  the  hymn.  The  inter- 
ludes were  very  short ;  indeed,  they  could  hardly  be  called  in- 
terludes in  the  ordinary  sense,  since  they  were  too  short  to  in- 
clude even  a  single  phrase ;  they  consisted  only  of  a  passing 
chord  or  two,  merely  allowing  time  to  breathe  between  the 
stanzas. 

We  have  already  intimated  that  the  singing  was  very  general 
in  the  congregation :  in  this  respect,  we  think  the  Dutch  con- 
gregations are  in  advance  even  of  the  German  ;  for  there  was 
one  universal  burst  of  vocal  sound  from  the  beginning  to  the 
end  of  the  hymn.  No  other  musical  form  was  attempted  than 
that  of  the  plain  metrical  tune,  or  chorale. 

We  were  also  present  during  public  worship  in  churches  at 
other  places,  as  Leyden,  and  The  Hague,  but  a  description  of 
one  is  a  description  of  all.  At  Amsterdam  and  Rotterdam  the 
same  general  style  of  church-singing  prevails.  There  is  one 
prevailing  custom  here,  which  strikes  a  stranger  with  surprise, 
and  which  seems  to  indicate  a  want  of  propriety,  if  not  of  rev- 
erence ;  and  that  is,  the  wearing  of  hats  in  church.  It  is  a  cus- 
tom in  the  Hollandish  churches  for  the  men  to  enter  and  re- 
main with  hats  on,  until  the  devotional  exercises  actually  com- 
mence ;  they  then  uncover  their  heads,  but  put  on  their  hats 
again  the  moment  the  preacher  begins  his  sermon.     It  looks 


DB.   BEXFIELD.  305 

strange  to  see  the  hats  put  on  the  moment  the  text  is  named. 
This  custom  also  prevails  in  some  parts  of  Switzerland. 

There  was  another  custom  which  we  observed  here,  that  we 
have  not  seen  elsewhere.  Very  soon  after  the  people  began  to 
assemble  for  public  worship,  an  elder  took  his  stand  in  front  of 
the  pulpit  and  commenced  reading  the  Scriptures  aloud.  This 
he  continued  for  perhaps  fifteen  minutes,  while  the  people  were 
assembling,  or  until  the  minister  had  arrived  and  was  quite 
ready  to  commence  the  service.  So  that  the  reading  of  the 
Scriptures  publicly,  was  treated  with  less  appearance  of  rever- 
ence than  are  our  organ  voluntaries  in  New  England  ;  since  it 
is  not  the  general  custom  with  us  to  commence  the  voluntary 
until  after  the  minister  has  taken  his  place  in  the  pulpit.  But 
it  seemed  strange  to  see  the  public  reading  of  the  Scriptures 
employ  the  coming  in  of  the  people,  the  walking,  talking,  and 
other  noises  of  disturbance,  and  at  the  same  time  to  see  the 
men  with  heads  covered,  or  hats  on,  in  the  house  of  God. 


LETTER   LIII. 


Dr.  Bexfleld's  Lectures— English  Glee  and  Madrigal  Union— Oratorios— Sacred   Har- 
monic Society— Juda*  MacppbfBM— Concerts. 

London,  March  II,  18S3L 

Dr.  W.  R.  Bbxveeld,  the  author  of  the  oratorio  M  brae]  Re- 
stored," has  been  giving  a  course  of  lectures  <>n  music,  and  es- 
pecially on  the  present  state  of  music  in  England,  at  the  Lon- 
don Institution.      This  is  an  institution  which  provides  lectures, 

popular  and  instructive,  annually,  on  many  subjects.  The  pres- 
ent season  there  have  been  courses  of  lectures  on  Physiology, 
Physical  Geography,  Electricity,  Geology,  Poetry,  and  Music. 


306  MUSICAL  LECTURES. 

The  musical  course  consisted  of  six  lectures,  on  the  following 
topics : 

Lecture  I.  Church  Music. — Chants.  Psalms,  Tunes,  Services, 
Anthems,  Voluntaries. 

Lect.  II.  The  Oratorio. — Requirements  for  writing  one; 
Handel,  Haydn,  Crotch,  Mendelssohn,  Spohr. 

Lect.  III.  The  Concert-Room. — Concertos,  Violin,  Clarionet, 
Overtures,  Symphonies. 

Lect.  IV.  The  Drawing-Room. — Pianoforte ;  Mozart,  Weber, 
Sterndale.  Bennett,  Mendelssohn's  songs  without  words. 

Lect.  V.  The  Opera. — Beethoven.  Mozart,  Gluck,  Spohr, 
Rossini,  and  others. 

Lect.  VI.     Revival  of  taste  for  Glees  and  Madrigals,  etc. 

These  have  been  accompanied  with  illustrations  by  various 
artists  in  the  different  departments.  Indeed,  it  may  be  said 
that  the  illustrations  have  constituted  the  principal  attraction 
(and  the  house  has  always  been  crowded),  Dr.  Bexfield  not 
having  given  himself  much  to  close  analysis  or  description. 
Dr.  Bexfield  is  quite  a  young  man,  but  a  fine  musician,  consid- 
ered either  as  a  composer  or  as  a  performer.  He  has  a  good 
command  of  the  keys,  and  were  he  not  otherwise  occupied,  i.  e. 
as  a  composer,  he  might  excel  as  a  solo  performer.  He  is  a 
great  lover  of  the  old  writers,  is  well  acquainted  with  musical 
history  and  with  the  various  excellences  or  peculiarities  of  all 
the  musical  composers,  and  seems  ready  to  quote  any  of  them 
from  memory.  His  oratorio  of  "  Israel  Restored,"  though  ow- 
ing to  peculiar  circumstances  it  did  not  draw  a  full  house  on 
its  second  representation  at  the  Norwich  Festival,  is  regarded 
as  a  work  of  considerable  merit.  We  have  heard  parts  of  it  under 
the  author's  direction,  and  were  much  pleased.  It  is  by  some 
regarded  as  the  best  English  oratorio  which  has  appeared  for 
many  vears. 


GLEE   SIXGIXG.  307 

The  concert   season  ia  aing  on,  and  we  have  some 

kind  of  musical  performance  almost  every  evening.  On  Mon- 
day last  we  had  the  pleasure  of  listening  to  one  of  the  M  English 
Glee  and  Madrigal  Union's"  concerts.  This  Union  consists  of  a 
number  of  the  best  English  singers,  say  six  or  eight,  who,  by 
much  practice  together,  bring  glee  singing  to  a  great  state  of 
perfection.  Messrs.  Loekey.  Hobbs.  and  Phillips,  are  of  the 
number.  The  best  glees  sung  on  the  present  occasion  were  : 
M  Mark'd  you  her  eye  of  heavenly  blue  V — Spofforth  ;  u  As  on  a 
Summer's  Day" — J.  Stat}  v    iik  ;  and  -  Under  the  Green- 

wood Tree" — Arne  and  Bishop.  The  best  madrigal  was. 
';  Flora  gave  me  fairest  flowers."  For  the  madrigals  they  have 
a  chorus  of  about  sixteen  voices.  Several  songs  were  also  sung, 
two  of  which  excited  some  interest,  viz. :  M  My  Time.  O  ye 
Muses !"'  by  Dr.  Croft,  sung  by  the  most  charming  mezzo- 
soprano.  Miss  M.  Williams  ;  and  a  song  from  Handel's  opera  of 
t;Orland«>."  by  Mr.  Phillips.  ••  Lascia  amor,  e  siegui.'7  There 
were  also  some  very  poor  specimens  of  songs,  glees,  etc..  which 
need  not  be  mentioned.  There  are  in  almost  all  concerts  things 
to  be  endured,  as  well  as  things  to  be  enjoyed. 

delssohn's  Elijah  has  been  given  this  week  by  the  Har- 
monic Union;  so  also  the  Hymn  of  Praise  and  Mozart's  Re- 
quiem, by  the  Sacred  Harmonic  Society.  The  Messiah  and 
Elijah  are  in  constant  demand,  and,  like  Macbeth,  never  fail  to 
draw  a  full  hoi 

The  Philharmonic  Concerts  are  now  soon  to  begin ;  but  ere 
that  v.  to  be  on  our  way  towards  home. 

On  Friday  evening  last,  the  Saered  Harmonic  Society 
Handel's  .In. las  M&  This  is  one  of  the  most  popular 

of  Handel's  oratorios,  though  less  so  than  the  Messiah.  N  r 
as  a  work  i  \  genius  can  it  be  compared  to  th-  work 


308  LONDON   CONCEETS. 

of  the  mighty  composer,  the  "  Israel  in  Egypt."  It  contains 
some  very  fine  specimens  of  chorus  writing,  both  contrapuntal 
and  dramatic.  It  is  an  oratorio  well  known  in  Boston,  having 
been  performed  frequently  by  the  Handel  and  Haydn  Society. 
The  greatest  attraction  in  the  way  of  performers  was  the  mag- 
nificent tenor  of  Mr.  Sims  Reeves.  "  Sound  an  Alarm"  was 
perhaps  never  given  with  greater  power  and  effect.  Mr.  H. 
Phillips  sang  in  his  usual  excellent  style.  A  new  soprano, 
Miss  Deakin,  attracted  considerable  attention,  and  promises  to 
become  a  popular  singer.  She  was  cordially  received,  as  one 
almost  always  is  who  looks  prettily. 

On  the  Monday  following,  the  Harmonic  Union  performed 
Handel's  Messiah.  The  Societies  are  all  obliged  to  perform 
the  Messiah  occasionally,  otherwise  they  might  not  pay  their 
expenses.  This  oratorio  always  insures  a  full  house.  Mr.  Ben- 
edict proves  himself  to  be  fully  adequate  to  the  direction  of 
Handel's  music — no  one  can  do  it  better — and  the  Harmonic 
Union  have  an  efficient  chorus  and  orchestra. 

There  are  now  many  concerts  of  classical  music.  Mr.  Stern- 
dale  Bennett  is  giving  a  series  of  concerts  into  which  he  intro- 
duces none  but  the  finest  compositions.  He  includes  the  mod- 
ern German  authors,  and  even  Robert  Schumann  is  heard  at 
his  rooms. 

Mr.  Lucas,  the  Professor  of  Harmony  in  the  Royal  Academy, 
is  also  giving  a  series  of  quartet  concerts  at  his  own  residence, 
in  which  the  first  artists  in  London  are  employed,  and  the  most 
classic  works  are  introduced. 

The  Concerts  of  the  English  Glee  and  Madrigal  Society,  in 
which  the  finest  English  glees  are  performed  in  the  very  best 
manner  by  the  most  accomplished  English  singers,  are  highly 
interesting  and  instructive.     The  principal  performers  are  Mrs. 


DR.    CAMIDGE.  309 

Endcrsohn,  Miss  Williams,  Mr.  Lockey,  Mr.  Hobbs,  and  Mr. 
Phillips. 

Other  concerts  of  less  interest  are  of  daily  occurrence  ;  and 
the  season  is  now  coming  when  London  will  be  full  indeed  of 
music,  as  it  always  is  from  April  to  July. 


LETTER    LIY. 


York— Dr.  Camidge— Roughness  of  boys'  voice?— Lord  Murray— Neukomm's  Psalms — 
Rev.  Mr.  Guthrie's — St.  Giles's  Cathedral — Choral  singing  in  Scotland. 

Edinburgh,  March  29th,  1853. 

I  left  London  on  Monday  21st  inst.,  at  five  o'clock,  and 
arrived  at  York  the  same  evening,  at  half  past  eleven.  The 
next  day  I  visited  the  cathedral,  and  had  a  pleasant  interview 
with  the  organist,  Dr.  Camidge.  He  is  a  fine  musician,  and  is 
well  known  by  his  various  church  compositions.  Perhaps  there 
is  no  cathedral  town  which  one  can  visit  with  greater  interest 
than  this,  and  the  service  under  the  direction  of  Dr.  C,  is  said 
to  be  as  well  performed  as  at  any  place  in  England.  But  still 
we  find  the  same  rapid  style  of  chanting,  or  nearly  so,  and  the 
terrible  roughness  of  boys'  voices.  Of  course  boys'  voices 
must  be  relied  upon  for  such  establishments,  but  it  is  enough 
to  tear  out  one's  soul  to  hear  them.  Just  before  leaving  Lon- 
don, I  called  on  Chevalier  Neukomm,  and  in  the  course  of  con- 
versation 1  asked  liim  how  he  liked  boys' voices  on  the  soprano? 
"Boys'  voices,'*  replied  he,  "their  voices  are  like  cat's  voices.'1 
Mendelssohn  disliked  the  shrill  and  BCreeohing  feature  of  the 
English  choruses  in  which  boys'  voices  prevailed,  and  in  which 


310  EDINBURGH. 

the  alto  is  sung  by  men.  I  was  sitting  by  him  in  Exeter  Hall 
during  the  rehearsal  of  a  part  of  his  St.  Paul,  in  1837,  when  he 
said,  "  It  is  a  pity  that  the  English  should  not  follow  our  (the 
German)  custom  of  employing  female  voices  for  both  soprano 
and  alto." 

There  is  a  society  in  Edinburgh  for  the  "  revival  of  church 
music."  It  is  under  the  principal  direction  of  Lord  Murray, 
from  whom  an  introductory  note  from  Chev.  Neukomm  pro- 
cured for  me  a  cordial  reception.  By  the  way,  it  will  be  in- 
teresting to  many  of  your  readers  to  know  that  the  Chev.  Neu- 
komm, whose  Oratorio  of  David  has  been  so  extensively  sung 
in  Boston  and  elsewhere,  is  now  residing  in  London  with  the 
Prussian  ambassador,  who  has  long  been  his  intimate  friend, 
and  who  provides  him  with  an  excellent  apartment  in  his  mag- 
nificent residence.  He  is  much  troubled  with  his  eyes,  yet  by 
the  strongest  magnifying  glasses,  he  is  able  to  see  to  write. 
He  composes  much  church  music,  and  has  lately  completed  the 
music  to  twenty  of  the  Psalms  (Bible  version)  which  have  been 
published  by  the  "  Association  for  the  revival  of  Sacred  Music 
in  Scotland."  These  Psalms  (anthems)  have  been  written  for 
two  choirs,  or  for  a  quartet  and  choir,  so  as  to  preserve  their 
original  responsive  character.  "  The  Psalms,"  says  the  Chev. 
Neukomm,  "  have  been  to  me,  during  my  long  life,  a  very 
gratifying  subject  of  meditation.  I  have  set  to  music  most  of 
the  Psalms,  and  many  of  them  four  or  five  times  in  different 
languages ;  in  Latin,  in  German,  in  English,  in  Italian,  in  Rus- 
sian, in  French,  and  even  in  Hebrew,  and  such  is  the  spirit 
which  lives  in  these  sublime  sacred  poems,  that  the  music  to 
the  very  same  Psalms  takes  in  each  of  these  languages  a  pecu- 
liar, but  always  a  most  high  and  admirable  character."  "  For 
Congregational  singing,"  says  the  Chevalier,  "  the  Metrical  trans- 


SCOTCH    PSALMODY.  311 

lation  (old  Scotch)  may  be  sufficient,  provided  this  translation 
the  ancient  Psalm  tunes,  which  are,  in  their  unpre- 
tending simplicity,  far  preferable  to  modem  adaptations  from 
Haydn,  Mozart,  and  other  compo> 

Psalmody  is  at  a  low  ebb  in  the  churches  here.  In  Rev.  Mr. 
Guthrie's  church  (he  is  one  of  the  most  popular  preachers)  the 
singing  is  led  by  a  choir,  or  as  it  is  called  here,  a  Band  (pro- 
nounced Bond),  consisting  of  about  eighteen  or  twenty  voices. 
They  sit  together  in  front  of  the  pulpit,  facing  the  minister,  and 
do  not  rise  when  they  sing. 

St.  Giles  is  the  old  cathedral  church  where  John  Knox  once 
preached.  The  building  is  so  divided  by  partition  walls  as  to 
accommodate  three  separate  congregations,  who  all  engage  in 
the  exercises  of  worship  at  the  same  time,  yet  without  any  in- 
terference. In  one  of  these  the  Psalm  was  led  off  by  a  strong 
male  voice,  but  the  tune  was  bad,  and  the  people  did  not  very 
generally  unite.  In  one  of  the  other  congregations  in  the  same 
building,  the  precentor  stood  up  with  great  dignity  in  his  place, 
having  on  his  black  surplice,  but  I  listened  in  vain  for  his  voice. 
He  seemed  to  be  put  up  there  for  a  show  or  display,  since  the 
lead  of  the  singing  came  from  a  powerful  female  voice,  sitting 
near  him,  but  so  as  to  be  unobserved  by  the  people.  In  the 
afternoon  I  attended  church  in  a  distant  part  of  the  city,  where 
the  singing  was  much  better  done,  but  where  its  general  char- 
acteristics were  the  same. 

Church  singing  in  Scotland  is,  I  believe,  universally  Congre- 
gational. It  receives  but  little  attention,  there  are  but  few 
good  bands  (choirs),  and  consequently  it  is  in  a  low  state. 
Almost  as  well  might  we  expect  the  religious  interests  of  a 
congregation  to  flourish  without  a  minister,  as  the  cause  of 
Psalmody  to  prosper  without  a  choir.     Another  reason  for  the 


812  HOME. 

low  state  of  church-music  in  Scotland,  may  be  found  in  the  ab- 
sence of  organs.  Choirs  and  organs  are  both  necessary,  not 
only  to  the  greatest  success  of  church-music,  but  also  to  the 
best  style  of  Congregational  singing. 

From  hence  to  Liverpool  to-morrow,  and  from  thence  by 
the  steamer  America,  on  the  2d  April,  to  Boston. 


THE    END. 


